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With a screenplay inspired by a series of newspaper articles detailing racketeering on the New York waterfront, On the Waterfront features one of the definitive Marlon Brando performances as Terry Malloy, a former boxer turned dockworker who unwittingly helps set up a fellow longshoreman preparing to testify against the corrupt union that controls the docks; the murder forces Terry to take a stand against the union bosses — including his own brother.
Among the many reasons to celebrate what’s widely held to be one of the true classics of American cinema is the extraordinary black and white cinematography by Boris Kaufman, for which he was given an Academy Award. Kaufman had a hard time establishing himself in the U.S. after fleeing Europe; the chance to work with Elia Kazan, then at the height of his critical and commercial success, was an extraordinary opportunity, of which he made the most: he moves effortlessly from the hard-edged look of scenes by the docks to ravishingly expressionist images in the chase scene near the end.
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