Film Lit Review aka EXTRA CREDIT

A few weeks ago, when asked when it is okay to be the whistleblower, my immediate response was that it is never okay to be the whistle blower. Playing the role of whistleblower has its definite pros and cons, but becoming the “tattle tale” is far from admirable. As I viewed On the Waterfront, I was unsure about whether Terry Malloy was doing the morally correct thing by unearthing the truth about the mob’s operations at the dock. The right combination of the literary, dramatic and cinematic aspects gave me a new sense of perspective on the role of a whistleblower.

On the Waterfront takes place in the winter on the mob-organized docks of New York. On these docks controlled by Johnny Friendly, what Terry Malloy seeks is simple, employment. Terry quickly learns, after his haphazard involvement in the murder of his childhood friend that life on the docks is far from impartial. Father Barry, who is the priest at the local church, becomes suspicious about what the longshoremen know about the murder of Doyle. Throughout On the Waterfront, Father Barry symbolizes a God-like figure, saving New York from the mob. When Terry is called on for information on Doyle’s murder, Terry faces the dilemma of playing deaf and dumb or becoming a canary and singing out the truth.

The famous Marlon Brando portrays the character of Terry Malloy with ease. The emotion of confusion came through in every action he made. Brando’s physique also allows the viewer to subconsciously compare Terry as a less powerful person against the heavy-set Johnny Friendly (Lee J. Cobb). The casting of Lee J. Cobb as Johnny Friendly could not have been a better choice. The powerful dock-master’s booming voice commands the attention of both the viewer and the longshoremen who work for him. With each step, the ground seems to crumble underneath his might, as well as the people who tremble at the mere thought of him. Eva Marie Saint, who is the character of Edie Doyle, has a commanding presence in the film. She appears fragile and girlie, but when she speaks, she is truly passionate about ending the corruption on the docks by the mob. The character whose casting was disappointing was that of Charley Malloy. Rod Steiger did a poor job on balancing both the compassion and toughness in his character.

The use of costume is a strong point in On the Waterfront’s use of dramatic aspects. The best example of costume is Edie Doyle. Her bleach blonde coiffure provides contrast against all the dark haired men, which makes her character exceptionally bold. All of the men in the film, with the exception of Father Barry, wore heavy coats, as if to symbolize all that they had to hide. Father Barry was always filmed wearing his coatless costume because he, unlike the longshoremen, had nothing to hide. An extremely symbolic prop was Joey Doyle’s jacket, which after his death, his sister Edie gave to another longshoreman, Kayo. Kayo, viewed as a threat to the mob’s operation, was killed. Edie took the jacket and passed it on to Terry, who ironically enough was about to become a canary, and therefore on the mob’s kill list. A good example of use of light is in the scene where Edie and Terry are running down a shadowy alley, and a truck drives through, nearly hitting Edie and Terry. The truck’s headlights are used to illuminate the area where Terry’s brother, Charley’s dead body is hanging lifelessly.

The music in On the Waterfront significantly contributed to dramatization of the film. High pitched and choppy throughout the most suspenseful parts, the music added to the anxiousness and anticipation. During fast-moving scenes, the music becomes more rapid, quickening the pace of the film. Another good use of sound is the voices of the characters. The man with the most power also has the most booming voice, and Edie, the only woman present has a whiny tone that makes her impossible to ignore. Medium shots are the most frequent during the film. This gives the viewer the most realistic perspective of what the characters see. An effective use of a low angle is demonstrated when Father Barry is being raised up from underneath the ship, making him appear superior to the longshoremen.

Joe Keller, of All My Sons, and Terry Malloy, of On the Waterfront share the same conflict of being the whistleblower. Their decisions alike have deathly consequences; for Terry his life, as well as the life of others if they choose to report the mob and Keller puts the lives of America’s pilots at risk with the cracked cylinder heads. Both Joe Keller and Terry Malloy’s involvement in the business of dishonesty comes at the cost the life of a family member. The ultimate difference between Keller and Terry is their honesty. Keller lives his life in a tangled web of lies, claiming that he never knew about the cylinder heads, and blamed it on his business partner, who received a jail sentence for Keller’s crime. Terry decides to tell the truth about the happenings at the dock, and although the mob could easily have him killed, he decides to do what he feels is right. Terry falls under the classification of an ethical crusade, choosing a difficult task because its morally correct, and Joe Keller is a traitor, causing harm to others for personal contentment.

After watching On the Waterfront, I realized that I needed to soften my position on when it is okay to become the whistleblower. I now believe that when someone’s life is at stake, it is necessary to blow the whistle. I think when Terry tattled on the mob’s dishonest actions, it was the overall morally correct thing to do. The gripping plot, tasteful casting, effective use of costumes and props and suspenseful music helped cast a light on the importance of when being a whistleblower is necessary. I would highly recommend this movie, because I found it extremely thought provoking.