On the Waterfront (re-release) Image
Metascore
88

Universal acclaim - based on 10 Critics What's this?

User Score
8.7

Universal acclaim- based on 113 Ratings

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  • Starring: ,
  • Summary: Marlon Brando gives one of the screen's most electrifying performances as Best Actor in this 1954 Academy Award winning Best Film as Ex-fighter Terry Malloy, who could have been a contender but now toils for boss Johnny Friendly (Cobb) on the gang-ridden waterfront. (Sony)

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Score distribution:
  1. Positive: 10 out of 10
  2. Mixed: 0 out of 10
  3. Negative: 0 out of 10
  1. 100
    The acting and the best dialogue passages have an impact that has not dimmed; it is still possible to feel the power of the film and of Brando and Kazan, who changed American movie acting forever.
  2. 100
    As unspoiled in its key elements as the day it was made, "On the Waterfront" is indisputably one of the great American films, its power undiminished. Even more today than half a century ago, it demands to be seen.
  3. Reviewed by: Ty Burr
    100
    The chance to watch a four-star classic the way it was meant to be seen -- fresh print, big screen -- is so rare as to be worth the trip.
  4. 80
    Under Elia Kazan's direction, Marlon Brando puts on a spectacular show, giving a fascinating, multi-faceted performance.
  5. It's hard to deny that Marlon Brando's performance as a dock worker and ex-fighter who finally decides to rat on his gangster brother (Rod Steiger) is pretty terrific.
  6. Moviemaking of a rare and high order. (Review of Original Release)
  7. Brando made one of his most indelible impressions in this relentlessly dramatic, ever-controversial tale of loyalty and betrayal in the world of working-class unions.

See all 10 Critic Reviews

Score distribution:
  1. Positive: 9 out of 10
  2. Negative: 0 out of 10
  1. Dec 27, 2015
    10
    best marlon brando's performance after vito corleonebest marlon brando's performance after vito corleone
                                                                                                
    and won 8 academy awards
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  2. Jul 5, 2015
    10
    a awesome film about American patriotism against corruption and organized crime, its a film most people don't make anymore, no holds barred.a awesome film about American patriotism against corruption and organized crime, its a film most people don't make anymore, no holds barred.

    Marlon Brando stars in a spectacular performance that even outshines his iconic performance as Vito Corleone, as Terry Malloy an ex-boxer and part time loser who is convinced by his superiors to testify against the murderous mafia who are using the harbors for illegal drug trade.

    featuring masterful direction from Elia Kazan, and Brando's tough and emotional star power, in the famous scene where he successfully stands up against his own brother Charlie (Rod Steiger) "I Could Have been a Contender" its a movie men in america of all ages young or old must see to make them more of a winner again than a loser.

    undeniably its the greatest American film classic of the early 20th century and winner of 8 academy awards!
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  3. Sep 6, 2010
    9
    The InstaFlicka Index 4.67/5 ----- The InstaFlicka Podcast Doing our part to help you by watching the NetFlix Instant Queue until our eyesThe InstaFlicka Index 4.67/5 ----- The InstaFlicka Podcast Doing our part to help you by watching the NetFlix Instant Queue until our eyes bleed. http://instaflicka.squarespace.com/ Expand
  4. Apr 16, 2013
    9
    Sincerely complex and immaculately-acted characters accentuate the gripping thematic ideas at hand in "On The Waterfront," another stone-solidSincerely complex and immaculately-acted characters accentuate the gripping thematic ideas at hand in "On The Waterfront," another stone-solid testament to Elia Kazan's perfect directorial skill. Expand
  5. MartB.
    Jun 18, 2006
    9
    They don't make 'em like this anymore.
  6. Dec 30, 2013
    8
    This Kazan-Brando collaboration (after A STREETCAR NAMED DESIRE, 1951 9/10) finally granted both an Oscar along with a sweeping 8 winsThis Kazan-Brando collaboration (after A STREETCAR NAMED DESIRE, 1951 9/10) finally granted both an Oscar along with a sweeping 8 wins including BEST PICTURE out of 12 nominations. The prestige of this monochromic magnum opus is merely indisputable so as to my sheer expectation could not be more intrigued.

    It is a forthright story, a bum longshoreman’s awakening to his conscience and takes on a venal union boss and his heavy minions. There are several incentives for his self-morphing into a better person, his love to a girl who in turn elicits his true grit, the demise of his brother (a pretty slow-witted move to put the final nail in the coffin to urge a man at his wits’ end to go to the opposite of the line), and a religious influence from a virtuous priest, whose righteous homily is spirit-lifting but cannot deliver the huddled mass from numb apathy. Against the grain, it is also an indictment of the repressed workers who is suffer from crowd conformity psychology and cowardice, the most abhorrent thing is one of the sidekick child massacres all the pigeons just to demonstrate an eye for an eye and a tooth for a tooth when Brando finally musters his courage to be a key witness in a murder case against the boss, it feels blatantly inexplicable and rather far-fetched. The same can be referred to the ending, a battered-up Brando (with horrible bloodstain make-up) struggles to stand up and walk towards the gate so rest of the longshoremen can be convinced that they should follow suit and disregard whatever reasons hold them back. It is a too-well calculated victory.

    Bad-mouthing about some uneasiness while watching this picture aside, Brando emanates a tremendous air of competence as the young loafer stranded in the underbelly of the dock, his two-hander with Eva Marie Saint comes well-handled, alternately romantic and endangered, and Saint’s film debut is also a fortuitous triumph for her, a borderline leading part nabbed BEST SUPPORTING ACTRESS trophy. Wondrously, the film also holds the record of securing three slots as BEST SUPPORTING ACTOR nominees (but no win), Kazan’s longtime workmate Malden emotes a paragon crime-defender as the priest, J. Cobb is the pure evil as the ringleader while his henchmen are completely imbecile and a young Steiger is the in-between as the ill-fated brother, an ambiguous image betrays great empathy in the illustrious conversing scenes inside the taxi with Brando.

    ON THE WATERFRONT also manifests Kazan’s top-notch deployment of the camera, with DP Boris Kaufman, the close-ups and fixated angle shots run fluently without tampering the rhythm of its grim reality. Leonard Bernstein’s accompanying score adheres firmly to the vascular impulse of the predictable diegesis. Thus, it is a fine piece of filmmaking and reminisces of the Golden Age with a touch of working-class bashing which may leave a small number of its modern audience nonplussed.
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  7. Sep 3, 2012
    4
    I know it is a classic, blah, blah...it still was not interesting and boring. Some fine acting and well known lines isn't going to makeI know it is a classic, blah, blah...it still was not interesting and boring. Some fine acting and well known lines isn't going to make someone fall in love with the movie. Collapse

See all 10 User Reviews

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