On The Waterfront
This is my all time favorite film (with Seven Samurai**) so I was overjoyed when Criterion got the rights. I'm happy to report that the release does not disappoint. I just blogged about the movie last week, so I wont go over all that again (though I could blather on about this thing nonstop) but I will say that I like even the things critics nitpick about. For me it's pitch perfect in every phase, from cinematography to score, etc. And the story is as poignant and powerful as it was when I first saw it. Marlon Brando gives IMHO the greatest performance ever seen on film. It's not just his delivery and expression, it’s the body language -- the slump of a shoulder, a tilt of the head… this isn't an actor acting, this is a fully formed flesh and blood individual coming to life on the screen.
The picture is generally sharp – clean and clearer than ever before. BD really shows up the grain. This is a grainy B&W film, so that's normal and right – I've just never seen it pop with such detail.
Criterion offers all 3 aspect ratios that were sent to theaters at the time. Despite the care cameraman Boris Kaufman put into each version, the 1.85:1 loses too much information at the top and bottom and I turned it off after a while. This is the first time I’ve seen the movie at 1.66:1 (even when I've caught it in theaters it was at 1.33:1) so I was real happy to see Kazan and Kaufman's preferred cut. It was amazing, though I must admit, I still am partial to the 1.33:1 – maybe it's familiarity, maybe it's because I like the way it opens up the screen (you can fully see Brando play with the cue ball on the pool table for example -- Something that is cut a bit in 66 and lost completely in 85)
Extras are informative and plentiful. You have interviews and features on actors, director the music, etc. Scorsese and Kent Jones have a little piece where they discuss the movie. Richard Schickel and Jeff Young provide an enthusiastic commentary track (they have so much to say they often interrupt one another).
One extra I really enjoyed concerned the real life inspirations for the story and characters. So much of this film is wrapped up in the Kazan controversy that we forget this side of the tale. Waterfront corruption was a hot topic across the nation at the time. And there was a huge amount of research that went into writing this story. Most of it based on fact. In this piece they tell us about the real Priest, the real Union bosses and how Terry Malloy (Brando's character) was a mash-up of several workers who testified. Doyle for another example, was inspired by a longshoreman who worked as a consultant on the movie. It also sadly reveals how prophetic Johnny Friendly's last words in the script would become.
All told I couldn’t be happier. I’ve seen this movie dozens of times on both the small and big screen - and to own this stellar production on BD with all the bells and whistle, is a dream. (Especially considering how past DVD and VHS were lacking in picture quality and extras)
Now, Criterion, you think you could get the rights to Brando's One Eyed Jacks – that one is in desperate need of restoration and a proper release.
** I don't know if 1954 had the body of top ranked films to be considered one of the all time great movie seasons. But it always stands out in my mind for 4 reasons: As mentioned, On The Waterfront and Seven Samurai are my all time favorites. 1954 also includes one of my top 3 Hitchcock movies, Rear Window. And my 2nd favorite Fellini (behind 8 1/2) La Strada
Topic: What was the last movie you watched? (Read 1784854 times)
