Elia Kazan’s On the Waterfront provides cinematic evidence for a gritty story full of corruption and its battle with integrity. Kazan does so through mise-en-scene, accompanied with language and symbols that speak for much more than their face value.

One of the best ways Kazan presents the tenacity of both the story and the main character, Terry Malloy, is through the use of a black and white film. In a way, the shades of grey produced by the black and white could represent the fact that nothing about this union is truly black and white; rather, it is a monopoly that has no concrete rules. Even the promise of a job for the day is nonexistent. The camera shots seem to obey the 180-degree rule and eye line match. The characters that are speaking are also centered in the frame. At some instances, however, like when K.O. Dugan is killed, Father Barry and Pop Doyle are raised above the other dockworkers, signifying their importance and amplifying the words spoken by Father Barry stating that Jesus is, in fact, everywhere. In some scenes the camera is placed behind a fence (like with Terry in the pigeon pen) perhaps to exemplify how they are all in the union’s cage. The costumes are typical examples of the two extremes, rich and poor, with the characters in expensive suits and hand-me-downs, respectively. The set design meshes well with the storyline of a small, hardworking town with a rugged feel. Leonard Bernstein’s score is also played throughout the film, mostly in moments of realization for Terry, like when his brother Charlie places the gun on him in the car.

This moment between Terry and Charlie in the car, and the lightning fast revelations that take place, surely make it a scene to remember. It unearths all of the feelings Terry has been trying to hide, and finally places the blame on his lack of opportunity. It becomes evident that Terry lost his hope for a future (and his conscience) after losing a match for his brother’s bet. At this point in the film Terry is in a large predicament, he must choose between doing the right thing and exposing the corrupt Friendly, or standing by his brother once again. In the cab the brothers are placed next to each other with equivalent body masses showing stating no dominance of importance; the two extremes of clothing are, however, evident. Once Charlie brings the gun out (though Terry knows he will not shoot) it becomes clear that Terry is on his own (evident through the close-ups on his face), and he finally releases his pain by telling Charlie that it is his fault Terry is the screw-up of the two brothers. The melancholy music adds to the despair. This scene is a way for Terry to realize that history cannot repeat itself and that he must do what is right.

This 1950’s film dialogue speaks for the time period; the slang words present and use of foul language (which was not a norm of the time) definitely place it in another decade. For example, words like “mug” and “bum” also aid in dating the film. The use of “potato eater” serves to expose the ethnicity of a character and goes along with the slang of the time. Another type of “eater” mentioned is with “cheese-eater” which stands for a major symbol of the film, being a rat. When someone is said to be a “cheese-eater” it means that they are a betrayer, a rat, providing for the connection to the cuisine associated for a rat. A rat or betrayer is also symbolized with a pigeon. The word “pigeon” in this film has duality in its meaning. The first is that many dub pigeons as flying rats, or vermin of the sky. They are notorious for being dirty and almost everywhere in the city, like rats. Pigeons also provide a metaphor for Terry. At the beginning, the “lost” pigeon is how Terry gets Joey to the roof and consequently, his demise. Terry then relates humans to the birds with their rituals of marriage. He is even envious of them as they have no worries in their lives, and later he becomes the “rat” and is distraught to find them all killed (by Tommy) after his confession. The other foul mentioned throughout the film is a “canary” which unlike the pigeon is representative of a caged bird, a pet, and inferior to someone higher– like the union.

The presence of alcohol adds to the gritty nature of the film, and meshes well with the job of these dockworkers, which is to load and unload products like Irish whiskey. In this film whiskey and beer have particular meanings. Whiskey, for instance, can be related to the Whiskey Rebellion where, after being unrightfully taxed for this profitable product, the residents rebelled against the tax[1]. This rebellion can be related to the character’s quandary, of deciding to overthrow an immoral superior. Whiskey, in Celtic, translates to “water of life.”[2] This provides perfect irony since K.O., who yearns for a shipment of Irish whiskey, ultimately meets his demise to this water of life. The fact that Irish whiskey, in particular, is mentioned lends itself to the many “potato-eaters’ that inhabit this town. The presence of beer can be seen as the poor mans wine. With hardly any access to food, let alone wine, beer is what Terry and his fellow dockworkers can afford.  The predominance of Father Barry and the religion of Christianity can also be linked to the fact that some Christians drink wine to signify God’s blood.[3]

Ultimately, On the Waterfront manages to expose Elia Kazan’s personal struggles with morality and loyalty, through the use of symbolism and a plot that leaves no room for glamour.

Earlier this week, our class and I were grateful enough to watch a well-renowned film titled, On the Waterfront. Luckily, Professor Kahan and other avid supporters of this movie had nothing but great things to say about it. Because Professor Diaz had educated us prior to seeing this movie, I was able to implement my new “film knowledge” during my experience watching On the Waterfront. In these next couple of paragraphs, I will explain the mise-en-scène, the dialogue, and the symbolism that was used to make this movie, I believe, one of the staples of American motion picture.

By definition, mise-en-scène is all of the elements that are placed in front of a camera to be photographed. A more literal definition would be that it’s the way the scenery and any other elements are used to denote where the movie is actually taking place. Compared to today’s technology with filmmaking, black and white film was used, which sets a different tone, representing one of hardships, betrayal, and constant uneasiness. Another set of aspects of mise-en-scène is the utilization of costumes and lighting. Both of these are vital contributors to the overall feeling and persona that is given off by the two main characters, Terry Malloy, an aspiring fighter and Johnny Friendly, the boss of the Dockers union. For the most part, the clothing is plain, as it relates to the time period of the mid 1900s. Suits, trench coats, lace or cotton dresses, and wool hats are all part of the costumes and there is a distinct relationship to the emotions evoked by wearing such clothing. For example, Johnny Friendly’s role is the “mob boss” that resides over the whole union; therefore, he dresses in a tailored suit with a trench coat over it, to represent a sense of prestige and loyalty all of his workers must have for him. However, Terry Malloy wears overalls, which symbolizes his hard work and willingness to achieve respect. Lighting also plays a major part in the demeanor of these two men, in relation to their overall characterization. The shadows and contrast between dark and light lighting flows coherently, with the separation of good and bad. There are many instances when the camera focuses in on Mr. Friendly; a shadow is formed and dark unpromising lighting is used. Therefore, the lighting and clothing used in this film contribute to the development of each of the characters and the roles that they play.

The dialogue that was used was another unique aspect in the movie. When I first heard the words such as: potato-eater, cheese-eater, and pigeon I was perplexed and not until I dug deeper, was I able to come up with a logical reason for using such phrases. For example, “potato-eater,” is referred to a person who comes from a heavy Irish background because money was scarce and potatoes were cheap, making it a staple of their diet. For example, Father Barry specifically calls himself a “potato-eater.” The other peculiar phrase was “cheese-eater,” which I’m assuming relates to the idea of being a rat; and it was used to describe Joey Doyle in Chapter four, for ratting out on Mr. Friendly. Finally, the word “pigeon” was used frequently in the movie in relation to someone who is loyal, just as the bird is faithful to its family and most importantly, to itself. Up until the ending of the movie, all of the workers including Terry were in fact, loyal to Johnny. However, the tides quickly turned, when Terry has had enough of Johnny’s antics and turns away from his authority, being bestowed the name of “stool pigeon.” However, these are only some of the terms used, but by delving deeper into them, I was able to find a distinct correlation between them and the main characters in the movie.

There is a very powerful and well-known scene in the movie between Terry and Charlie Molly, which took place in the taxi, when Terry says, “I coulda been a contender.” One of the most important things that I noticed is the use of the camera. Due to the small space, the camera adds to the intensity of the dialogue as it relates to the scene. In essence, the camera use capitalized on the facial and body expressions evoked by Terry and Charlie. The dialogue consists of Terry reprimanding Charlie because he made him lose a fight purposely, which unknowingly ended Charlie’s fighting career. The acting and emotions that were used during this scene were so intense and passionate that it ultimately shows that the character Terry has matured in a man, and is finally aware of what he has done. This then enables Terry to stand up to Johnny and his crew, after Charlie had been killed. Again, the quote mentioned above conveys the idea of fighting the bad for the good of everyone else.

Finally, alcohol is used prevalently throughout the film. I think the reason for using it is to epitomize the overwhelming amount of betrayal and moral decay. For example, Father Barry is, according to his obligations as a priest, not allowed to consume alcohol, but does so anyway. In the Irish heritage, alcohol has a deeper meaning and in this movie, corruptions works hand and hand with it. It also relates to the character Terry Malloy. When he consumed this drink, it seems to me that he was worried and trying to keep his mind off it before he acted on his inner thoughts. In reality, beer is way cheaper than liquor, so the typical Irish hard worker, Terry drank beer, whereas, the boss, Johnny preferred the more expensive drink, whiskey. Again, by the use of mise-en- scène, dialogues, symbolism, and alcohol an overall theme had been established making the underdog Terry have the last laugh.

On the Waterfront is a 1954 movie that was directed by academy award winner Elia Kazan[1]. The film shows the corruption among New York City’s dockworkers. The story takes place in Hoboken, across the Manhattan River.  Today, nearly seventy years later, On the Waterfront is considered a timeless classic, not only because of its plot, but because the elements that came into play during the production of the film.

During the movie, the mise-en-scène helped the viewer focus on certain aspects in each scene making them understand the story better. The viewers felt as though they were in the movie through the use of framing, editing, lighting, and camera shots.  The movie, for the most part, took place by the docks, with boats constantly in the background. Today, the camera tends to move with the character more, and stay stationary a lot less. However, in the movie, the camera shots were short two-second clips capturing the character from different angles. In the scene where the priest was standing by Kayo’s body delivering a sermon, the camera tried to capture several different views of him talking from above, below, and behind.

The music was used to set the mood of the scene. When Edie walked out of the restaurant, the fast-paced wedding music set the mood for a quick chaotic scene that lasted nearly ten seconds. The bride ran into the crowd and the men surrounded her. The lack of lighting showed how it was late evening. Again, the camera didn’t move much in this scene; it simply showed two views, one from above capturing all the men, and one from the front showing Edie reacting to this scene.  When the thugs were about to brake in to the church, it was the music that showed that something was going to happen. The scores played during action scenes set the mood, and prepared the viewer for what they would see.  The costumes were sometimes used to show transformations. Through the movie, Terry wore his plaid jacket with holes by where his elbow should be. At the end of the movie, he wasn’t wearing the plaid jacket anymore, now he was wearing Joey’s jacket.  Also, Edie transformed from the wrinkle-filled, hair knotted, estranged woman she was, to the more refined feminine figure at the end. The costumes worn showed that the movie took place at some point during the harsh winter, because the men and women were always wearing coats.

The 1950’s style dialogue was apparent throughout the movie. Their accents made it clear that the characters were from a different time.  When Terry was being questioned about Joey’s death, he replied “People I may know? You betta get outta here busta” and “Neva’s gonna be too soon for me shorty” He also mentioned that he wasn’t a pigeon, meaning someone who would be the informer, and tell the cops everything. There were two types of people in the town, as Friendly saw it; there was the D & D (deaf and dumb) and the canary. The deaf and dumb wouldn’t say anything to anyone about what they saw, and the canaries would speak the truth. The cheese-eaters would also be the informers, and the potato-eaters would be the Irish because of the potato famine.

The scene between Terry and Charlie in the taxicab essentially showed two men having a deep intense conversation. But what made this one of the greatest scenes in was the acting, filming, and wording coming together so perfectly. When Terry got in to the car, it was obvious that Charlie was nervous. He was playing with this glove, and he also blinked a lot when he tried to make his point. It was apparent that he desperately wanted more than anything else for his kid brother to just take the job. When it becomes clear that Terry wouldn’t take the job, Charlie held up the gun. However the way Terry calmly put down the gun showed how hurt he was. They didn’t say much during their conversation, but their frequent pauses and facial expressions got the point across. The conversation was so strong, that the viewer almost felt their emotions as though they were in the conversation. Terry explains how Charlie failed to look out for his little brother, and that’s why today Charlie is a bum. Charlie’s association with Friendly took Charlie’s boxing career. The way Charlie said “I could’ve been a contender” showed how deep Terry’s pain was, and that he may never be able to let it go. Their voices stutter with pain and crushing emotion that send trembles through the viewers.

The Irish were known to have control of the waterfront at that time in history. The constant use of alcohol shows how they like to show their presence in the lives of everyone who lived by the docks, since whiskey and beer is a big part of Irish culture. Their practices became a constant reminder of their influence in American life. The Irish were known to have a policy where no one would ever say anything against them otherwise they would suffer the consequences. The movie depicted that idea, and constantly reflected the Irish presence through the use of alcohol.

On the Waterfront is a classic example of how elements of cinema come together with a great plot to form a timeless piece of American cinema that is sure to be remembered even a century from now.

In the awarding winning American classic On the Waterfront, Elia Kazan gave viewers a glimpse into the painstaking life that existed for longshoremen on the docks of the Hoboken waterfront. Each day, they struggled to free themselves from the mobsters that controlled their livelihood. Following the longshoremen through their journey against hardship, corruption and scandal, Kazan demonstrated directorial brilliance in the mise-en-scène he employed.

The opening extreme long shot introduced both the mobster union delegates and the vast waterfront, as Leonard Bernstein’s ominous musical score played in the background. This musical piece became indicative of impending conflict in future scenes. The camera shots throughout the film were basic, consisting mostly of mid-range close-ups of two character conversations and wide shots to include the background and multiple characters. The lighting appeared to be natural, without the addition of artificial sources. The dimly lit cargo “hole”, bar, apartments and alleyways represented the dark dismal places they actually were to the characters.

The movie was filmed in black-and-white in keeping with the time period and tone of the storyline. Color would have been too vibrant, cheerful and distracting. In addition, it was filmed on location, not a set, for authenticity. The characters wore the same costumes throughout the film, making them easily identifiable. The only significant costume change was the passing of Doyle’s jacket to Dugan, and then to Terry in the final scene. Wearing the jacket symbolized Terry’s willingness to finally stand up for his principles.

Dialogue in the film included an excessive use of slang. Slang was used to identify the longshoremen as their own sub-culture, with a particular vocabulary they used amongst their peers. “Potato-eater” was a negative ethnic reference to an Irishman, which many of the dock workers were. “Cheese-eater,” “canary,” and “rat” all signified someone who would become an informant against their own group. “Pigeons,” however, had multiple meanings. Terry found his escape caring for the pigeons on the rooftop. They symbolized the life of a longshoreman: sleep, eat, fly like crazy, stay loyal until death, but remain caged under someone else’s control (the mob). He identified with them. According to Terry, pigeons would always fall victim to the hawks that swoop down from overhead. Pigeon was also a negative reference to a “stool pigeon,” another slang term for an informant. Ironically, Terry used a pigeon to lure Doyle to the roof, and to his death.

Alcohol, especially whiskey and beer, played a significant role throughout the film. The powerful mobsters worked out of the back room of a bar. Whenever they held a meeting, a bottle was visible on the table. Dugan, an Irishman, wished for a shipment of good whiskey to unload, and finally received his wish. He happily stole and stashed a bottle in his jacket. Ultimately, the Irish whiskey killed him, as the boxes “accidentally” crashed down on him. Beer was the drink of the commoners. On at least two occasions, Father Barry drank with the longshoremen. This signified that the priest, although religious, was one of them. In addition, Edie drank for the first time on a “date” with Terry. In this case, drinking symbolized her loss of innocence from her good Catholic upbringing.

The famous car scene between Terry and Charlie Malloy was filmed to cinematic perfection. The two men sat close together in the cramped back seat. For most of the scene, both men were visible, with the over-the-shoulder camera angle shifting to capture facial reactions. Close-up shots of the individual characters were used at points when each character showed their vulnerability and accepted their fate. Charlie played nervously with his glove, leaving his right hand the only part of him uncovered and exposed.  Their conversation was simple and emotional. Both men sat calmly, without making any aggressive physical moves toward the other. The bright lights of the passing car headlights highlighted the emotion and uneasiness on their faces, fading in and out of the darkness. All of these elements combined made this scene perfection.

The mise-en-scène Elia Kazan employed in On the Waterfront was film-making at its best. His choice of set location, camera shots, lighting, editing, acting and score were brilliant. It is no wonder that this film is regarded as one of the great ones of American cinema.

On the Waterfront is a brilliant film by Elia Kazan about the mob-like union leaders and their hold on dockworkers in the 1950s. He used many different artistic mediums to portray the message of his film. The mise-en-scene, dialogue, and symbols all contributed to the unique and profound quality of the movie. Each artistic device told a specific part of the story or quality of a character. This is why this film by Elia Kazan is an iconic masterpiece of modern American film.

In order to truly capture the spirit of the story’s setting and to add authenticity, Elia Kazan decided to film the entire movie in Hoboken, New Jersey, with New York City in the background. Many long shots at the docks showed cargo ships passing in the river and people bustling in the streets. This allowed the audience to fully understand the lives of the characters and the world they lived in. Another example is the use of a dolly shot when Edie and Terry were walking in the park. This camera angle followed the characters as they were trying to get to know each other. It showed movement in their relationship as they journeyed to the same destination together.

Another aspect of mise-en-scene that Kazan used brilliantly is lighting. When Terry called out to Joey in the beginning of the film, the streetlights casted shadows across his face because this act was to be kept hidden, or “in the dark.” Secondly, Edie always appeared to be very bright, glowing, and angelic. This showed that she had high standards of morality, and that her character was someone who was completely good in the film. The lighting was used to show good and evil in this film.

The score of the film was used to heighten suspense and display the characters’ emotions. An example is when Terry went to see Edie in her apartment after his taxi ride with Charlie. The boisterous, clashing instruments paralleled the characters’ clashing emotions. It then cut out abruptly when Terry kissed Edie. This kiss was a surprise to Edie, just like the abrupt stop of music was a surprise to the audience. This emotion was displayed through the music in a way that words could not. Nevertheless, words did play a very different but important role in this film.

The 1950s style dialogue added to the realism and authenticity of the movie. The language allowed the audience to understand the social classes of the characters. Many of the slang words in the movie were also codes that the mob-like union leaders used to conceal their agendas. For example, when K. O. Dugan was going to report the mob’s agenda to the police, they decided to kill him for not being D&D. This coded for “deaf and dumb.” The dockworkers refused to tell the police about the union leaders’ corruption for fear of never finding work again. The union leaders forced the workers to live by the D&D code just to survive.

Another slang word that was often used by the mob was “cheese-eater,” a word that coded for a rat or a snitch. Anyone who revealed the mob’s plans was considered a cheese-eater and was to be killed. Once the person had revealed the mob’s plans, his life had lost its value and he was considered a pest. The mob leaders needed to exterminate him before he confessed more secrets. To the leaders, the dockworkers were mere animals.

The mob also used the word “pigeon” to describe those who told the police about their corruption. When Terry was going to tell the police about Johnny Friendly’s corruption, the mob murdered Terry’s pigeons. Tommy, the little boy said “a pigeon for a pigeon,” as he held out a lifeless pigeon to Terry. Terry’s life was worth nothing anymore; he was only a threat to the union leaders. Just as they brutally murdered the pigeons, they planned to murder Terry.

The pigeons paralleled Terry in other ways as well. He found peace in his pigeons. He would go to the rooftop where he kept his pigeon coop to escape from the harsh world down below. He said the following to Edie: “Pigeons are a lot like people. They’re faithful and loyal.” He related with pigeons, which are helpless and defenseless birds. Terry had been bound to the mob from a very young age, and he was powerless with and without them. “This city is full of hawks,” he said. “They hang around on top of the big hotels, and when they spot a pigeon, they come in and take ‘em out.” Terry felt dependent on the mob for survival. He wanted to get out of this corrupt lifestyle, but he was tied so tightly that he couldn’t escape. They locked him up in a cage just like the pigeons were caged in the coop.

Terry told Charlie how he felt about his ties with the mob in the taxi ride. For the first time in the film, he was not defending or mitigating their corrupt tactics. He confessed that he felt victimized by them. The bright lighting on his face was used to show that he was completely honest about his frustration with the mob leaders and the binds they had on his life. He was not holding any secrets back from his brother. By saying that he “coulda had class,” he admitted that he believed that they ruined his chances of his having a wholesome and successful life. The camera zoomed in into Terry’s face to show his emotions. He was regretful, hurt, and disappointed in his brother. He felt betrayed by the one person whom he thought would always be “in his corner.”

The taxicab was shaking and rattling throughout the scene. The camera followed the bumps on the road to show that the brothers had a shaky relationship. They no longer trusted each other. Charlie felt betrayed by Terry because was going to confess to the police. Also, Terry told Charlie that he should have “looked out for [him] a little bit” when he was a wrestler. Terry felt betrayed by Charlie because he felt that Charlie was prioritizing the union leaders’ interests over his own brother’s. Terry had then realized his brother’s feelings towards him.

A symbol of realization and maturity in the film was alcohol. The alcohol in the film was beer and whiskey, which reflected the social standings of the characters. Terry, who drank beer often, bought Edie a beer on their first date. Edie once lived a sheltered life, but learned about the cruel nature of life when she got involved with Terry. The beer symbolized her transition from innocence to maturity. Terry also matured when he witnessed the death of K. O. Dugan. The mob killed him by dropping cases of whiskey on him. Terry finally realized how corrupt the union was. Lastly, the Father gave Terry a beer when he agreed to confess about Johnny Friendly. Killing him would have been revengeful, but to truly hurt Johnny Friendly Terry had to be mature and confess. Terry had matured in his dealings with the mob-like union leaders

On the Waterfront is filled with artistic details that deepen the significance and message of the work. The dialogue made the story unique, while the lighting, music, and camera angles displayed the aspects of the story in a way that words could not. Symbols were used to show the message of them film in a subtle, but profound, way. Elia Kazan brilliantly used many artistic mediums to tell the meaning of his the film.