Terry has the strength to tell Charley that he harbours a grudge because he was forced to lose the fight. As a result, by the end of the film, he is a different person. Tommy destroys the pigeons after Terry testifies at the Commission as a signal of death.
This progression is only made possible with the help of Edie and the Father who stir his conscience, and the death of Charley which climatically drives Terry to action.
Terry seeks revenge and yet Father Barry encourages him to fight with the truth. His comments highlight the danger of breaking the deaf and dumb code of allegiance. This is also a metaphor of how the bosses control and entrap the workers.
During the s, the time of depression, the longshoremen struggle to earn an honest living and the skyscrapers in the distance such as the Empire State building remind the longshoremen of the American dream of wealth and opportunity which has escaped all but the most corrupt chiefs like Johnny Friendly and Mr Upstairs.
As chief director, Johnny Friendly slaps On the waterfront film techniques essay who questions his authority. The director uses setting and positioning of characters to symbolise their moral stature.
I coulda been somebody, instead of a bum. His stance against the mob becomes a personal victory, whereby Terry abides by his conscience.
He has grown into a man of honesty and integrity who has won his own personal battle and gained self-respect as well as the respect of the other workers. The hawks symbolically represent Johnny Friendly and his gang.
In addition, Terry shows loyalty to those close to him. However, he is uneasy and fidgety at the realisation that he betrayed his friend, who was, after all, seeking to uncover corruption.
He finally overturns the label of the bum. It is designed to morally wound Terry. It is clear the waterfront world is full of fear, moral compromise and misplaced loyalty, but this is a moment of clarity where the brothers find each other again through a mutual confession.
The priest constantly empowers the congregation with moral superiority and Father Barry urges Terry and the workers to tell the truth, otherwise, they will live a tortured existence with a cowardly soul.
Viewers cannot hear his dialogue, which is smothered by the blast of the coal ship in the port which suggests that the waterfront constantly dominates his life. It would be much easier for Terry to continue on as before, but Edie offers him a vision of himself as a better man than he ever imagined he could be.
The House of Un-American Activities Committee was set up in to investigate the presumed infiltration of communists into American society. See Sample Essay plans and models: The pigeons symbolise the longshoremen who are trapped. It is apparent Johnny Friendly and his Mob do not have any boundaries, moral integrity or conscience.
Terry believes that Charley set him up for failure in life when he yielded to the demands of the mob. Terry punches Tullio to stop him from throwing rubbish.
His increasing attachment to the pigeon Swiftly symbolises his obsession with loyalty, fidelity and commitment. Kazan confessed to Miller, who writes in his autobiography, Timebends: As Terry gets to know Edie and then to fall in love with her, he is given a new perspective on the life that he has been living.
August 22, This gives them moral superiority. Depicted as a Christ-like figure, Kazan shows that redemption, even for the antagonist, is possible. Despite his vulnerability, Father Barry also appears invincible as he delivers a stirring sermon which revolves around the theme of injustice.
As a result of their collective power, the waterfront is transformed. Likewise, Terry, takes up the fight after he realises the degree to which he has compromised his integrity.
Some film techniques Kazan depicts Johnny Friendly and his gang in pseudo-business attire to draw attention to a certain air of respectability that defies and conceals the extent of their entrenched corruption. Work on the waterfront is inherently dangerous to those who seek to confront the corruption, deceit and lies that protect and entrench the power of Johnny Friendly and his cohort.
That the men are psychologically entrapped by the perverted loyalty codes dooms them to a life of servitude and despair.The film “On the Waterfront” is an academy award winning film, set in the early s. Through its director Elia Kazan the film uses a variety of production techniques to display the idea of clear-cut heroes and villains, and a black and white view of morality.
Many years ago, noted director Lindsay Anderson, then a film critic, wrote an essay he called simply, "The Last Sequence of On the Waterfront." In it, he scored the politics of the film's last moments.
Aug 30, · On the Waterfront Essay; Print; Pages:  Go Down. Author Topic: On the Waterfront Essay (Read times) Tweet Share. 0 Members and 1 Guest are viewing this topic. you have included quotes really well and you have talked a lot about film techniques which is essential to get good marks so keep that up!
Logged Psychology and. Cinematic Techniques In On The Waterfront TOPIC: ‘Kazan uses a range of cinematic techniques to reveal the emotional and moral struggle of Terry Malloy’ ‘On the Waterfront ’ is an, award winning film, directed by Elia Kazan, whose audience is faced with Terry’s moral dilemma and emotional battle, that forces them to think about their own beliefs about what loyalty, love and friendship mean.
On the Waterfront: one man’s fight against corruption By Dr Jennifer Minter (English Works Notes, ) Set in the s, Elia Kazan’s film On the Waterfront captures the essence of oppression endured by the stevedores on the Hoboken Docks, New Jersey.
On the Waterfront is a classic, award-winning and controversial film. It received eight academy-awards inincluding best-picture and director. The director, Eliza Kazan, in collaboration with Budd Schulberg wrote the film's screenplay.Download