In We Live in Silence, Chiurai dissects the film through similitude, recreating scenes intercut with visual references from popular culture and art historical sources to stage alternative colonial histories and futures that reject this notion that African migrants are to think, speak and understand language like their colonisers. As with previous work, Chiurai collaborated with an award-winning production team:
Themes are the fundamental and often universal ideas explored in a literary work. Informing as the Correct Moral Choice Terry Malloy obeys moral authority by choosing to inform on the corrupt union officials—that is, in the film he clearly makes the morally correct decision.
Vicious doubt and derision about his potential choice affect Terry and all his friendships throughout the film, since the men are understandably concerned about their own jobs and their own lives. The closing scene, however, changes these feelings profoundly. Their group action confirms that, deep down, they all wanted Terry to do what he did.
All of the previous discord, then, merely generates suspense until this mass action plays out. The choice Terry makes to inform on the union officials echoes the choice Budd Schulberg and Elia Kazan made to inform before HUAC on former communists, but Terry achieves results that are far less morally ambiguous than the results Kazan and Schulberg achieved.
Kazan and Schulberg effectively blacklisted for decades many of their creative, intelligent, and politically active peers. However, many of his subsequent films deal with themes similar to those in On the Waterfront, whichsuggests that his HUAC decision haunted him, even in the creative realm, for at least a decade.
At the end of On the Waterfront, Terry is surrounded with people who admire and respect him. Kazan, though he built a successful career, was never fully embraced by Hollywood, and his own decision to inform stranded him in morally ambiguous territory.
The Transforming Power of Faith Edie and Father Barry, the two characters who most help Terry figure things out, have faith in something intangible.
Edie maintains faith in her belief that people care about the well-being of others and want to do the right thing. Father Barry maintains faith that acting as a representative of God can help others do the right thing.
They both base their actions on these beliefs, and the film validates the value of living by certain principles. Essentially, Terry redeems himself by justifying their faith.
The other characters do not have faith like Edie and Father Barry do, resulting in a distinct dichotomy.
On one side are Father Barry and Edie, who have faith in concepts that are completely invisible. On the other side are the corrupt union officers, who have faith in money and power, acquisitions that are measurable.
Though this delineation of good versus evil threatens to be overly transparent, the ways that faith changes Terry and forces Charlie to face his own moral wavering bring new depth and texture to the idea of what it means to be faithful and faithless.
Power Corrupts Though the film sympathizes with Johnny Friendly and his rough upbringing, it shows that his taste for power has left him morally bankrupt. This idea that power corrupts does not apply only to Johnny Friendly, however. Upstairs, for example, turns on Johnny Friendly in an instant.
In the game of power, the film says, there are no true friends, just the acquisition of more power and the defense of that power.On the Waterfront, released in , is a classic film that brings cinematic elements and actors’ performances to life.
Studying this film helps one understand the acting tools implemented and the effect that it would have on the audience’s perception of the film. Find helpful customer reviews and review ratings for Leonard Bernstein Remastered at lausannecongress2018.com Read honest and unbiased product reviews from our users.
“The Help” based on a best-selling novel by Kathryn Stockett, a story of three women who take extraordinary risk in writing a novel based on the stories from the view of black maids and nannies.
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.
Terry Malloy obeys moral authority by choosing to inform on the corrupt union officials—that is, in the film he clearly makes the morally correct decision. Those on his side include a Catholic priest and a kind-hearted teacher trainee, and these endorsements increase the . Dear Twitpic Community - thank you for all the wonderful photos you have taken over the years.
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