On the Waterfront (1954)

The critic calls Brando unforgettable as Terry Malloy and notes his Oscar win, describing the film as a well-crafted entertaining drama that also serves as an apologia for informing, made fascinating by Kazan's own history of naming names. It highlights Leonard Bernstein's score, memorable dialogue, and great performances from Eva Marie Saint and Rod Steiger, stating the film deserved its eight Oscars.

The critic praises the superb performances, especially Brando's as Terry Malloy, the colourful script by Budd Schulberg, and sure control of atmosphere, calling the account of struggles against union corruption powerful and electrifying. It notes that the film is undermined by religious symbolism turning the protagonist into a Christ figure and special pleading on behalf of informers, linked to Kazan and Schulberg's McCarthy-era actions.

The review celebrates the film's landmark status as a hybrid of neo-realism and noir with powerful Method acting and themes of honesty and conscience informed by its creators' histories. It singles out the iconic taxi scene and Brando's nuanced performance as standout elements.

The review calls the film an incredibly stirring and relevant melodrama that fuses neo-realism with noir and mythic elements, remaining contemporary in its portrayal of disenfranchisement. It singles out Brando's transcendent performance and the atmospheric location shooting for praise.

The film is a bleak look at corruption and the indignity of labour, humanised by Brando's subtle performance as Terry Malloy. It remains a classic despite the political baggage of its makers.

The story draws from authentic sources including a real priest and Pulitzer-winning articles, and Kazan declares it God's truth about New York longshoremen. It is sootily realistic and looms as a dark horse film of 1954.

The film is a ferocious and splendidly constructed indictment of labour racketeering on the New York docks, with realistic treatment that matches the best location-shot American films. Performances are remarkable, especially Marlon Brando as the docker ex-pugilist and Lee J. Cobb as the union boss, though the attempt to blend realism with Christian symbolism creates some aesthetic unease.

The review hails the film as a brutally realistic and gripping gangster drama that exposes waterfront corruption while urging workers to fight for their rights. It singles out Budd Schulberg's masterful script, Elia Kazan's superb direction, and Marlon Brando's heartbreaking performance for particular praise.

The film is solidly based on real waterfront exposés and benefits from authentic Hoboken locations and Kazan's direction. Marlon Brando delivers an unmatched performance as the longshoreman redeemed through love, supported by superb work from Karl Malden and Eva Marie Saint.

The film is a violent and indelible record of man's inhumanity to man on the New York docksides, powerfully and imaginatively using the screen despite occasional surface dramatization. It is moviemaking of a rare and high order.

The film is packed with strongarm dramatics that promise impressive business, featuring a rousing scenario with murder, mayhem, and expertly turned dialog. Kazan stages the fireworks and tender meetings effectively, with strong performances especially from Brando and newcomer Eva Marie Saint.