On_the_Waterfront

‘On the Waterfront reveals the powerlessness of the individual against a corrupt ruling group.’ Do you agree' Elia Kazan’s film, On The Waterfront, demonstrates the extent to which a corrupt group can eliminate the power of the individual. Set in 1954, the film portrays the realism of desperation and corruption in the city of Hoboken, New Jersey. The initial scenes outline the intense control the Crime Commission have over the longshoreman. Johnny Friendly is the individual responsible for holding majority of the control; he then empowers his companions as they take the role of his subordinate authority. It is the protagonist, Terry Malloy, who is responsible for altering this complete power along with the contribution of many, including both Father Barry and Edie. The use of mise-en-scene provides the film with additional authenticity through emotional music, costuming and remarkable camera use. The black and white style implicates the era and adds to the severity of countless scenes in the film. Johnny Friendly, along with his companions, demonstrates immense power over the longshoremen to the extent that they become fearful to stand up for their “rights”. Through the use of cinematic techniques the endless power which the “mob” possesses is illustrated; the initial scenes portray them as far superior in their chic attire, wearing suits with ties, shoes that would show their reflection, along with stylish hats. In great contrast, the camera continually looks down upon the longshoreman, including Terry, who stand hunched over wrapped in their coats which have more holes “than the Pittsburgh infield”. It is the deaths of both Joey Doyle and Kayo Dugan which illustrate the lack of compassion the authority share for the longshoreman who are simply trying to earn their survival. The smug facial expression and amusement in the faces of the “mob”, following Joey’s fall, outline their carelessness and support the idea that “a lousy buck is more important than the love of man”. The implication of the “D&D – deaf n dumb” theory on the docks leads to the death of these two men; this not only is disheartening for the longshoreman but also eliminates any propositions they may have had about speaking up against the Commission. Back to their daily rut of begging like pigeons for work tokens from the hands of Big Mac leave the men helpless. The violent theme of music, consisting of staccato brass, percussion and the motif of the alto saxophone increase the intensity of the scene as the men pick on the ground for the tokens. This symbolises how the “mob” objectify the longshoreman into items which they can play with; they have complete and utter control over them. Within society there is a status ranking; the Crime Commission possess complete power over the longshoremen, similarly, there is ranking within the “mob” itself with Johnny Friendly seated in prime position. Initial camera shots, such as that zooming in on the sign reading, “Friendly’s Bar”, foreshadows his authority of which the audience is yet to see. It is made evident through the opening scenes of the film that Friendly’s status results in his disrespectful attitude towards his inferior. Kazan’s use of cinematic techniques symbolise Friendly’s control as the camera consistently approaches Friendly from a low angle showing his authority; in contrast Kazan chose to approach Johnny’s companions and the longshoremen from a high angle, cementing their lack of power. His sarcastic attitude and vast confidence enables him to manipulate other characters’ to obey his orders. This is demonstrated through his manipulation of the highly educated Charley Malloy, who is encouraged to betray his brother in order to uphold his positive relationship with Johnny. The imagery of Charley holding a gun to his brother, presents Johnny’s power without even containing him in the scene. Johnny does not question his decision to kill Charley, instead he makes it incredibly traumatising for both Edie and Terry who encounter his body hung on a picket fence. The picket fence is an ongoing symbol within the film portraying the lack of freedom and confinement which Terry suffers both physiologically and psychologically. Johnny’s demoralised character results in him working against the people in his “mob” in order to succeed himself; Kazan portrays him as an extremely selfish character who seeks to create benefits for only himself. It is the addition of Edie into Terry’s life that provides him with a vision of establishing change. Edie’s angelic character is highly admired by the audience; the black and white style of the film captures the beauty of her contrasting blonde hair whilst her costuming, from neck to ankle, illustrates her innocence. The stereotypical view of Edie within the era would claim her to be a voiceless individual yet Kazan illustrates her as an outspoken character when she believes strongly about an issue. The preliminary scenes demonstrate their anxiety around one another; Edie unknowingly fiddles with her fingers whilst Terry continuously chews his gum. The developing connection between Terry and Edie is obvious for the audience, not only through the increasing flirtatious dialogue but also through the love themed music consisting of a flute melody in their presence. As their relationship develops Edie’s moralised outlook on life impacts increasingly on Terry. This is an important element of Terry’s development as his confidence grows to stand up against the “mob” for not only his “rights” but also for the “rights” of his fellow “longshoreman”. Violent music, consisting mainly of brass and percussion, builds in tension as Terry “walks the plank” and fails in his attempt to bash Johnny. Edie, along with Father Barry’s altered attitude to no longer simply stay “in the church”, assist Terry and the rest of the longshoreman to their freedom. The realism of the final scene is portrayed through the real life set as well as being contributed to by the use of cinematic techniques. The score rises in hope through the use of woodwind and string instruments as Terry grows closer to the shed symbolising his freedom through each step. The companionship of his fellow longshoreman is portrayed as they step aside to form a path as he walks; this illustrates their respect for Terry. Edie presents an enormous contribution to Terry’s ability in defeating the “mob” and therefore altering the plot; the powerless now found themselves powerful simply through the actions of an individual. On The Waterfront presents Johnny Friendly as the epitome of power; this view alters as he is challenged by Kayo Dugan, Joey and finally Terry who proves to be the only successor. Although the corrupt group demonstrate power to the individuals of Charley and Joey to the extent that they lose their lives, the plot takes a crucial turning point when Terry becomes involved. He proves that the “love of man” is more important than a “lousy buck”. It was through the power of just one individual that the powerful were removed from their pedestals and the powerless took a step in their path to a new life; a life of freedom and equality.