Join Emma and Jack as they cover one of the most widely acclaimed films of all time! Directed by Elia Kazan and Starring Marlon Brando and Eva Marie Saint, this picture won 9 Academy Awards with 12 nominations at the 27th Oscars. We celebrate all things Brando on his coinciding birthday release!
Join Emma and Jack as they cover one of the most widely acclaimed films of all time! Directed by Elia Kazan and Starring Marlon Brando and Eva Marie Saint, this picture won 9 Academy Awards with 12 nominations at the 27th Oscars. We celebrate all things Brando on his coinciding birthday release!
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On the Waterfront (1954)
[00:00:00] Introduction: [00:00:00] Welcome to another episode of the old soul movie podcast, a show that features backgrounds, reviews, and reflections of some of the most influential movies ever made. And now your hosts, Emma and Jack
[00:00:37] Jack: [00:00:37] Hello everyone. And welcome back to another episode of the old soul movie podcast. And today we are going to be talking about the 1954 American crime drama on the waterfront. Emma, how are you today? We are so excited to be covering this a listener requested film. Yes
[00:00:55] Emma: [00:00:55] today, we are covering a listener requested film on the waterfront [00:01:00] and this movie stars, Marlon Brando, and this April 3rd, which is the day of this episode's release, just so happens to be Marlon Brando's birthday.
[00:01:11] So in honor of him, we are covering it, this monumental film, some of his best work and speaking of birthdays. Happy birthday to our listener and member of the old soul fam. Kay. Yes, she is celebrating her birthday on April 5th. We hope it is a good one full of old Hollywood, glamor and magic. Thank you so much for celebrating with us.
[00:01:40] Kay. We are just so
[00:01:41] Jack: [00:01:41] excited for you. Yes. Happy birthday. Kay. Thank you so much for being part of the old soul fam. Thank you. Thank you. Thank you for all your support and for watching these movies with us for just enjoying the time that we spent together on, uh, on air. So, uh, happy birthday. Kay. Hope it's a great one.
[00:01:57] And to any other. Members of the old soul [00:02:00] fan that have birthdays coming up, feel free to shout us out on social media. Maybe we'll shout you out. Who knows? But, um, but yes, can't wait to get into on the waterfront. This was such a, a crazy, crazy movie. I'm so happy that it was listened to requested that we got the opportunity to cover it.
[00:02:16] Emma, where do we begin? I mean, you mentioned Marlon Brando. The, uh, I mean we could go actors, we could go production. Where, where do we start?
[00:02:24] Emma: [00:02:24] Well, first of all, I have to ask you, was this your first time watching this
[00:02:28] Jack: [00:02:28] spoiler alert, everyone will be shocked to find out that no, ER, sorry. That yes, it was my first car.
[00:02:38] No, actually. Yeah, that, that would have been a great surprise if it was, was not, I don't know. I'm confused. I can't even think right now. So yes, this was the first time I watched it and. Wow. What a ride, what a, an emotional roller coaster to say the least. Um, but yes, how, how, I mean, I'm guessing this was not the first time you've watched it.
[00:02:58] Emma: [00:02:58] No, I've [00:03:00] actually watched it. I've actually had to watch it for different classes a couple of times. So I'm definitely familiar with it and I'll be honest. This is another one that I've been wanting to cover, but I've been extremely nervous to cover because it is such a big one for so many reasons. Not only did it win eight Academy awards, it's also a big metaphor for a Hollywood issue at large.
[00:03:29] So. I think personally to maybe understand this movie or appreciate it even a little more, it would help to know a bit about que and Elliot
[00:03:46] So to recap, a little after world war two, there was a major communist witch hunts throughout the forties and fifties in several different professions, but it absolutely impacted Hollywood pretty heavily. [00:04:00] These investigations were led by the house committee on un-American activities. AKA Hugh act. Now Hugh act was founded in 1938 as a way to search out individuals and groups and organizations that might have communist or fascist ties in 1947, 10 directors and writers.
[00:04:20] And one was a. Producer also were subpoenaed to testify before HUAC and refused. This lets you contempt and criminal charges for the refusal at these individuals, which included Dalton Trumbo would go on to be known as the Hollywood tat after this incident, major producers in Hollywood met in regards to this event and they released the Walter statement and with its release, it condemned the Hollywood 10.
[00:04:48] It also said these statements, which are exact quotes, we will forth with discharge or suspend without compensation, those in our employ. And we will not reemploy [00:05:00] any of the 10 until such time as he is acquitted or has perched himself up content and declares under oath that he is not a communist on the broader issue of alleged subversive and disloyal elements in Hollywood.
[00:05:13] Our members are likewise prepared to take positive action. We will not knowingly employ a communist or a member of any party or group which advocates the overthrow of the government of United States by force, by any illegal or unconstitutional methods and pursuing this policy. We are not going to be swayed by hysteria or intimidation from any source.
[00:05:36] We are Frank to recognize that such a policy involves danger and risks. There is a danger of hurting innocent people. There's a risk of creating an atmosphere of fear. Creative work at its best cannot be carried out in an atmosphere of fear. We will guard against the stager, this risk, this fear to this end, we will invite the Hollywood talent guilds to work with us, to [00:06:00] eliminate any subversives, to protect the innocent.
[00:06:02] It's a safeguard free speech in a free screen, wherever threatened. Which is just really interesting words in comparison to what goes down. So people in the industry, in the Hollywood industry, the movie industry, it would be called upon as witnesses to HUAC. These hearings would eventually be televised for people with turn into the point was essentially to have evidence that there were communists among people in the movie industry.
[00:06:28] As a witness UIP asked to assure that you were not a communist and to give up names of people affiliated with communists activities, unfairly witnesses were people that would not cooperate or give names and or would say the investigation was a violation of their freedom. Oftentimes these individuals would be blacklisted.
[00:06:49] So these people were totally completely unable to find work. So that's absolutely crazy. There's just. [00:07:00] No, if you're called a , it's just, there's no way out now, if you are called upon who ACH and either don't admit it or admit to being a communist and give up names, that would make you more of a friendly witness.
[00:07:15] Now being a friendly witness would mean giving up the names of other people, getting them blacklisted and saving your own career. LA Khazan. It would go on to be one of the most infamous friendly witnesses of all time.
[00:07:37] So a little background on Elliot Khazan. Oh, yeah. Cause Anne studied at the Yale school of trauma and worked as an actor for a bit in New York city. He eventually started directing famous plays, including the skin of our teeth by Thornton Wilder, a streetcar named desire by Tennessee Williams. Of course he would go out to direct the movie version and the original production of death of a salesman by his [00:08:00] friend, Arthur Miller.
[00:08:01] In 1947, Ellie Khazan helps found the actor's studio, which was famously headed up by Lee Strasberg. After Khazan left for Hollywood to focus on film directing. Now, Strasburg is known for implementing method acting, which has been famously used by actors like Montgomery Clift, James Dean. And of course, Marlon Brando definitely known for his casting of unknown actors who would rise to start them.
[00:08:28] Eventually Nicholas spray would dub him the best actors director, uh, in his films focused on gritty realism. So not the happy-go-lucky stuff we might think of like flashy musicals or slapstick or whatever. So during the great depression in mid 1930s, Khazan had joined the communist party for a year and a half.
[00:08:53] In 1952, so 16 ish years later, essentially because Anne was summoned by Hugh [00:09:00] ACCA to name names of people, also involved in communism. At first, he did refuse to give any names. Now it's my understanding that he may have received some threats from pretty high up people of not being able to work again.
[00:09:17] And then eventually Khazan did give names, people who he had worked with back in New York city, including Lee Strasberg, his wife, Paula Miller. So these weren't just random people. These were essentially friends and close colleagues. The big controversy is, is that Khazan claims that these names were already on QX list.
[00:09:40] So he claims he didn't provide any new information. But others refute this thing. It's not true that Hugh act didn't have some of those names and he effectively ruined the lives and careers of those people forever. All of these actions last him, several friends, including Arthur Miller and [00:10:00] Miller would of course, right?
[00:10:01] The 1953 play the crucible, which is very much a social commentary on the Hugh act investigations. And then Khazanah famously defended his actions with this movie that we're covering today on the waterfront from 1954, which she actually worked with Miller on in the early stages of its inception. He also wrote a piece in New York times, reaffirming that he did the right thing and that it's an American's patriotic duty to inform on communist.
[00:10:30] And then the next year, 1955, Arthur Miller responded to that by writing a view from the bridge, which is a play about a longshoreman who else his coworkers. But he's only motivated by Chelsea and greed. So yikes, but actually Arthur Miller later be called upon to testify before Hugh ACC. And he did not name a names saying I could not use the name of another person and bring trouble on [00:11:00] him.
[00:11:01] And he was found in contempt of Congress in 1957, uh, since to find a prison sentence blacklisted. And, uh, he got his Casper take it away. His conviction was eventually overturned in 1950, but as you can see, Arthur Miller was not all talk. He really did, uh, keep his word on that. So. I actually in preparation for this free watch the footage from the 1999 Academy awards, you can watch on YouTube in which Khazanah is awarded an honorary Oscar.
[00:11:32] And it's a fascinating video because some clap and others refuse to applaud and stay sitting. People who did not apply to include familiar faces like Nick Naulty at Harris in McKellen, uh, among others. And actually, uh, this movement, I think costs Nick. Naulty an opportunity working with Martin Scorsese, I believe who was friends with Elliot Khazan and, um, you know, and speaking of Martin [00:12:00] Scorsese, I can't help, but think of Goodfellas and, uh, you know, little warning Goodfellows spoilers here.
[00:12:07] So if you don't want that, maybe fast forward, like a minute or two, but I mean, how does Goodfellows end with Henry Hill becoming an, a format against the people he worked with in the mafia and that he was close with? So this movie, not just this movie, but. At this time period in this huge tech world informants stories about informants would start becoming part of the Hollywood narrative, uh, parallels of hue, equity start being shown in stories such as this, or even, uh, the movie high noon.
[00:12:36] It is another very well known one, all very, very interesting. And I mean, this is a very Hugh act friendly team that was working on this movie. We have Elliot Khazan of course, who was directing Budd Schulberg. He was the screenwriter and he was also a friendly witness. Who names names, Lee J Cobb, who played Johnny friendly, the mafia guy.
[00:12:59] He was [00:13:00] threatened to be blacklisted and he names names also.
[00:13:03] Jack: [00:13:03] Right, right. I mean, that was a lot, let's just take a step back here and applaud Emma for that, um, mini lecture kind of summary of, uh, everything kind of going on a story that I feel like if we're going to think about this and kind of like a Nietzsche way, or I'm thinking of the philosopher who said that time is, you know, relative or a flat circle.
[00:13:25] Um, I feel like it's the same story kind of being hold over and over again. I mean, you mentioned the crucible, but even thinking about like the Salem witch trials or, you know, up until, I mean, I'm sure there's contemporary cases that are just escaping my mind right now, but, um, I mean, this one was definitely, I think one of the most high profile sort of, you know, I think culturally relevant.
[00:13:50] Instances with, you know, all the McCarthyism going on and, uh, the blacklist, like you mentioned. So it's the same story though. And I feel like this film, how we kind of [00:14:00] circle it back to on the waterfront is sort of like an encapsulation of that, that story in a timeless sort of manner with great performances.
[00:14:12] So, um, yeah, Barry, all this to say folks, very important film and, Oh my goodness. How can that the personal connections, I feel like from Amazon and the rest of the, uh, the cast are what make it, you know, even more relevant. So yeah. And like,
[00:14:30] Emma: [00:14:30] and that's just it. Um, I think that it's worth knowing the story behind the story, because I think that there's so much, uh, that parallels or that it draws from.
[00:14:43] I remember that I think the first time I watched this and. If I am just looking at a brief two sentence premise of this, you know, Terry, the dark worker is struggling. Yeah. That [00:15:00] I'm not really sold on that. That's it's not like the most juicy thing that's like, Oh yeah, I've got to see that for me. But the acting, the writing, the, I mean the direction and the historical context to me make this just an incredible film.
[00:15:17] I don't think you have to know the history of UX to appreciate this, but. I think it just makes it that much deeper and more
[00:15:24] Jack: [00:15:24] layered. Yeah, no, I, I would definitely agree. And I guess speaking on those sort of strengths of the film, it was heavily rewarded at the Academy awards. I mean, it had, it feels like nominations in almost every category and definitely the ones where you would just assume that it would be nominated.
[00:15:42] So. And wins and wins and wins like, uh, this is yeah, an insane, insane film. I mean, a lot of people, a lot of critics have it within their top 10 lists of greatest films of all time. So I feel like this is one where on the outset, it's not, you know, it's not like the [00:16:00] sound of music, you know, this is not, you know, a happy kind of film to say, or to put it lightly, but, uh, super, super important.
[00:16:10] And I'm happy that we are finally having the chance to cover it, that I finally got the chance to watch it because when you look at, you know, I think people within the industry, it is so heavily respected that it's definitely worth watching and, uh, being familiar with so great stuff,
[00:16:26] Emma: [00:16:26] a hundred percent agree.
[00:16:27] And it's interesting, this, this, this whole story, fascinating movie, like you said, there's so many. Very highly respected, amazing people that worked on this film. I think the cast is definitely worth giving a shout out. Uh, Marlon Brando's, Terry Malloy, Marlon Brando. I just think he's very talented. Uh, and to me, this is one of, if not his greatest performances, uh, we have Karl Malden, his father, Pete Barry.
[00:16:54] Uh, of course we've seen Karl Malden before a couple, a couple months ago now as Mitch [00:17:00] in a streetcar named desire. So he is also familiar working with, uh, Elliot, Roseanne of course, Marlon Brando's in that movie too. Lee J Cobb, who we mentioned, uh, as Michael J Skelly, AKA Johnny friendly, uh, rod Steger as Charlie, the gent Malloy Terry's brother.
[00:17:18] We have Eva Marie Saint as ed Doyle. This is kind of interesting to me because Grace Kelly turned down this role to star and rear window, which it it's a win-win situation. Yeah. Uh, the role. Of ed. It was between. If Marie Saint and Elizabeth Montgomery, who of course we all know and love as Samantha on B, which Elizabeth Montgomery ended up not getting the role.
[00:17:46] They found her to be a little too. Uh, I believe well-bred yes, too refined. Not
[00:17:53] Jack: [00:17:53] to say that Eva Marie Saint isn't. I mean, I feel like he's still like a stunner. She's still a stunner. And not only that, [00:18:00] but I mean, as I'm sure, you know, maybe the listeners don't, but she was 30 when they filmed this, but she was playing a 19 year old.
[00:18:07] So I mean very fresh faced, but I don't know how you could say that she isn't put together. I think, well, I know kind of the sentiment behind it was that it looked like Elizabeth Montgomery. Didn't it didn't look like Elizabeth Montgomery was brought up on the docks.
[00:18:23] Emma: [00:18:23] Yeah, I think that's just it. I think it's not saying that a Marie sane isn't gorgeous.
[00:18:28] Cause she is absolutely. I mean, she became a Hitchcock blonde. I think it's more like, she looks like. She could fight it out a little bit more. I don't know. Or like a little bit
[00:18:37] Jack: [00:18:37] rougher. She's tough. She's like tough. I don't know. I it's, it's weird.
[00:18:42] Emma: [00:18:42] Yeah. So anyway, uh, and she did absolutely amazing in this film.
[00:18:47] Okay. And let's face it. She's the lead actress here. Uh, they submitted her under best supporting actress because that category was less competitive that year. I think that was a [00:19:00] little sneaky. A little, uh,
[00:19:02] Jack: [00:19:02] yeah. I mean, who would have been the lead actress in this then? She's like the only actor is the only actress.
[00:19:09] So is very confusing. Yeah. Yeah.
[00:19:12] Emma: [00:19:12] No, but I would be ticked off if I was competing in that category, then
[00:19:18] Jack: [00:19:18] I'm not going to lie. Yeah, no, I feel that. And I mean, it's strong performances all around. I think we have to mention, and I guess talk about Marlon Brando and just how this is. Widely considered maybe one of the best, if not the best lead actor performances of all time I have here.
[00:19:37] I mean, you can check it out on, on the Wikipedia folks, but, um, you know, Jack Nicholson Al Pachino better to Cumberbatch Anthony Hopkins. And of course, Robert Pattinson, they all, you know, they all very much respect the performance that Brandon puts in. So it like me not going into it, looking into the background at all.
[00:19:58] Like I just, I could see it [00:20:00] was a very strong performance, but it was cool to see that. I mean, especially in certain moments, like, uh, I mean the taxicab scene, I feel like anytime he's on the roof, like you could just see the internal struggle. I feel like it's just so good. It's
[00:20:15] Emma: [00:20:15] so, so good on his part. He just absolutely nailed it.
[00:20:20] He actually almost didn't even get the role, I believe because he was, uh, not. Happy with LA Cassandra actions themselves. But I think there was some competitiveness that came out. Uh, Frank Sinatra was up for the role, Paul Newman. They had to do a screen test and, uh, yeah, it ended up driving him to kind of be like, I'm going to take this.
[00:20:41] And I mean, it was the rule.
[00:20:44] Jack: [00:20:44] Yeah. In case you were curious everyone about who the actresses would have been that, uh, Eva Marie Saint would have been going up against and that Academy awards. Oh yeah. I want to know, you know, it is kind of understandable in hindsight, the winner that year was Grace [00:21:00] Kelly in the country girl, but you also have Dorothy Dandridge and Carmen Jones, which we also covered, uh, Nazi long ago, Judy Garland and a star is born Audrey, Audrey Hepburn and Sabrina.
[00:21:15] And Jane whining and Jane Wyman in magnificent obsession. So
[00:21:22] Emma: [00:21:22] it was
[00:21:22] Jack: [00:21:22] a hard year. That was a tough year, but, um, still, I mean, still, and I think
[00:21:29] Emma: [00:21:29] there is some controversy, even with Grace Kelly winning that year. I think a lot of people thought Judy Garland absolution won that year. Um, We'll get into that.
[00:21:36] Jack: [00:21:36] Maybe nominations in my opinion are good enough. Nominations are good enough. Yeah. Yeah. Well even just saying it's like think of every, you know, high profile, old Hollywood actress, you could think of they're kind of nominated that year, but uh, Amory say it absolutely killed it. Incredible job. Yeah. So, uh, I mean that along with pretty much everything else, I mean, best motion, picture, best [00:22:00] director, best actor, best supporting actor, best supporting actress should have just been an actress best Dorian screenplay.
[00:22:05] Yeah. Best art direction, best cinematography, which again, insane. Best home editing, best music score. I mean, it's, it's everything basically. Yeah. Very, very important film to say the least and. Must-watch
[00:22:20] Emma: [00:22:20] absolutely. And what's, to me also interesting is that the lead characters in this story were based on real people.
[00:22:27] Uh, Terry Malloy was based off of the whistleblower and longshoreman Anthony, Dave, and Shenzhou, uh, father Barry was based off of a real priest named John M cordon. And then, uh, John friendly was based off of the mobster Albert Anastasia. So, uh, this is like not, not a true story
[00:22:50] Jack: [00:22:50] in today's world. I feel like it would be marketed as inspired by real events or inspired by, you know,
[00:22:58] Emma: [00:22:58] real events [00:23:00] galore here.
[00:23:03] Jack: [00:23:03] Um, so yeah, keep that in mind. Definitely. While you're watching it, if you haven't watched it before, like me, of course always predictable, but yeah, I'm a, what else shall we cover before we head into the rewatch?
[00:23:15] Um, gosh, I just,
[00:23:18] Emma: [00:23:18] this movie, this movie is just beautiful. It's terrific. I just thoroughly enjoy it. I really do. And yeah, I w I was nervous to cover it, but I'm also excited to talk about it because some of my favorite acting of all time. Absolutely incredible. Yeah. Let's, let's get into it because this is a really, really exciting one.
[00:23:39] Jack: [00:23:39] We are first introduced to mob connected union boss, Johnnie friendly, who gloats about his iron fist control of the waterfront, the police and the waterfront crime commission know that friendly is behind a number of murders, but witnesses played D and D that is deaf and dumb accepting their subservient position rather [00:24:00] than risking the danger and shame of informing.
[00:24:03] Terry Malloy played by Marlon Brando is a dock worker whose brother Charlie. The gent is Friendly's right-hand. Man. Terry had been a promising boxer until friendly instructed Charlie to have Terry deliberately lose a fight so that friendly could win money by betting against him. Terry coax is Joey Doyle, a popular dock worker into an ambush, preventing joy from testifying against friendly before the crime commission.
[00:24:27] Terry assumed that friendlies enforcers were only going to lean. That is rough up Joey, to pressure him into silence and a surprise when Joey is killed Joey's sister ed angry about her brother's death shames waterfront priest, father Barry into fomenting action against the mob controlled union friendly sends Terry to attend an inform on a dock workers meeting.
[00:24:50] Father Barry holds in the church, which is broken up by friendlies. Met Terry helps ed escape, the violence and is spending with her another dock worker, [00:25:00] Timothy J Kao Dougan. Who agrees to testify after father Barry promises, unwavering support ends up dead after friendly arranges for him to be crushed by a load of whiskey and a staged accident.
[00:25:13] Emma: [00:25:13] Wow. Uh, okay. So I want to know what are your initial impressions of the mob Terry and the setup for Joey that whole opening scene?
[00:25:24] Jack: [00:25:24] You know, this is a really, really interesting film to watch. And I think, uh, the modern standpoint, because I think, I mean, this could just be me, but I was more introduced to, and more familiar with, I think score says the gangster movies.
[00:25:40] And so it is cool to see, I think how some of those could have been influenced by this movie because I was getting sort of Goodfellas vibes, casino vibes. Yeah. Yeah, exactly. So, um, I think right off the bat, that's what that sort of reminded me of except it's. Taking place on this [00:26:00] waterfront on the waterfront.
[00:26:02] So, um, so yeah, I think that it's, I think really the first thing that stood out to me was just the initial, the grittiness of, uh, of the film is very dark, little new R ish. But I think that that's just where the, uh, the cinematography and just the art direction are just so, uh, so perfect because I feel like it is just the right feeling.
[00:26:29] It feels cold. How do you get that feeling just by using black and white? Like, I have no idea and based on how they, they make that happen. And, um, that was the first thing that. That was the first thing that I noticed. And then of course you're introduced to the gang friendly. I mean the very, very intimidating right off the bat.
[00:26:53] Um, Charlie,
[00:26:54] Emma: [00:26:54] the gent. Yeah, that's a, that's a great gangster name. That's the gent. That's [00:27:00] scary.
[00:27:00] Jack: [00:27:00] Yeah. I mean, it's, uh, the gen definitely. I feel like, uh, Jimmy maybe got inspired by that a little bit and Goodfellows, we'll see. I don't know, but, um, yeah, who knows, but, um, but yeah, definitely you can sense the, uh, how, how you can sense how formidable this group is and you just would not want to cross them.
[00:27:20] And yeah, unfortunately we kind of see this whole scene play out with young Joey and unfortunate Terry who was not expecting, I think for that to happen. This whole push off the roof ordeal.
[00:27:34] Emma: [00:27:34] Exactly. I think you do get a sense of naivete or, you know, not super worldliness from Terry. Like I think it's very easy to assume.
[00:27:44] Oh yeah. He's a bad kid also, but seeing his reaction, I think just solidifies something that we can kind of see in ourselves. Right. And you get some interesting lines here, like, uh, just some very pointed lines, I would [00:28:00] say, uh, with, uh, the one that's like Joey was the only longshoreman who had the guts to talk to those crime investigators, um, someone who discovers his dead body.
[00:28:09] And with that, I'm pretty sure we have our thesis of informants in working with the authorities and putting an end to bad stuff or stuff being deemed that. Yeah. Yeah. So the, it takes guts, it takes courage. And so we'll see that that's a. A tough order. Uh, what do you think of ed?
[00:28:33] Jack: [00:28:33] I mean, right off the bat, I'm, I'm smitten with ease.
[00:28:36] I can easily see how Terry is. Um, but it's, it's really, I think not. Yeah. I think it's really interesting to see how invested she is. I think in continuing the investigation or just really finding out and exposing the people that were behind her brother's death. I mean, I would expect and hope for, you know, equal treatment if [00:29:00] anything happened to me.
[00:29:01] But yeah, I, I do, she, she has this, you know, again, I'm going to probably say the word gritty a million times this episode, but she does have that grittiness. I can see why, uh, because I'd wanted her because. You could like, you could see her kind of growing up in this environment, like she's kind of rough around the edges, but she's also stunning.
[00:29:25] So it's a, yeah, it's a perfect casting. And again, her performance is just stellar, but what do you think
[00:29:33] Emma: [00:29:33] if from a character standpoint, I love her. I love her. She's a fighter. She's fierce. She wants to know who killed Joey and she will not stop until they discover it. I just, I love the fire. I love the passion.
[00:29:43] I think she's great. She's great written character. I love it. Love it. That's a great role, but yeah, I just poor Terry really stuck here in this position. And also when the dock workers are kind of first approached by [00:30:00] authorities here, notice how Terry refuses to acknowledge knowing anything at first, a little like someone else we know.
[00:30:08] Jack: [00:30:08] Dan
[00:30:11] Emma: [00:30:11] he's in a heated Ida naming names at first.
[00:30:14] Jack: [00:30:14] Right. Okay. Okay. Alright, perfect. Yeah, I could have sworn that. I, uh, I was reading about Elliot Kazon, uh, earlier, or just at some point in time and noting that he would not take a job unless he felt some type of personal connection to the story or, um, some deeper kind of underlying sentiment that was shared.
[00:30:37] Yeah, exactly. I mean, I won't even get started on East of Eden right now, but, uh, go back and listen to that episode, if you want to hear my thoughts on that one. But, um, yeah, I, I do, I, I do think that that makes it just a stronger story overall to have that connection between the director and maybe the, yeah.
[00:30:58] The lead character [00:31:00] and, um, And I do also think that this character is super intriguing. I'd like to hear your thoughts on him, but father Barry, uh, what do we think of the waterfront priest here? Emma? Well,
[00:31:11] Emma: [00:31:11] father Barry, what a guy, what a guy. I love a priest. That's got a little toughness in him. Like not your traditional priest.
[00:31:20] I know he's very compelling. He's a very compelling, uh, very warm he's someone. I wouldn't mind having an Alliance with it's not yet, but later on, I mean, Terry makes a point that it doesn't matter if he's a priest, you can still have an opinion and take sides and he absolutely does. So I think that makes him unique.
[00:31:41] He's not this neutral, heavenly perfect figure. He's got a whole personality in depth and. I was going to say,
[00:31:50] Jack: [00:31:50] yeah, no, he, yeah, I I'm actually, I'm a little torn between father Barry. Like, yes, I like his grittiness and I love, you know, the, the stuff that he stands for and [00:32:00] how committed he is to, um, really exposing the, the crime underworld.
[00:32:06] I think in an ironic way, he sort of acts like, he's kind of like a good devil on Terry shoulder throughout the entire film. Like he, he's kind of like the angel and the devil. He just, he eggs him on so much. I feel like to do things that you would just never normally do. So. Yes. Like he's probably an angel, but he goes about it in sort of like this devilish way,
[00:32:31] Emma: [00:32:31] guilting
[00:32:31] Jack: [00:32:31] him.
[00:32:32] Oh, it is classic Catholic guilt, like one Oh one happening here. So, um, yeah, no, he, he's a very strong character. I like having the, uh, I guess the balance between everything happening. Cause you can see, you know, just from where Terry starts, he's, he's one of the metaphorical, symbolic Hawks sort of, he's still kind of like a pigeon, but I feel like there's a lot of symbol symbolism going [00:33:00] on kind of throughout this time.
[00:33:01] Yes. Um,
[00:33:02] Emma: [00:33:02] and speaking of which Terry gives a line too. I believe Charlie pretty early on saying that he doesn't want, you know, he feels like he's stooling and Charlie slake stooling is when you read on your friends, it's just, yeah, it's interesting because that term obviously comes from stool pigeon, like you said, there's a lot of symbolism of pigeons and Hawks and all that.
[00:33:24] Terry raises pigeons, Joey raises pigeons and stool pigeons. And, uh, yeah, Terry is essentially being told where his Alliance and the pressure is on. So it's a lie. And it also, for me, some of this Terry kind of saying me I'm with me, like he's for himself, he doesn't care about, you know, dock workers or mafia or whatever.
[00:33:47] He's, she's only there for himself. And it definitely hearkens back to a sentiment we heard in Casa Blanca of not taking sides. Right.
[00:33:56] Jack: [00:33:56] I'll stick my neck out for nobody. Yeah. Well,
[00:34:00] [00:34:00] Emma: [00:34:00] at the end of the day, That was kind of a propaganda film, and this is kind of, you know, a message in a different way. At the end of the day, both of those films were kind of getting through saying that you can never truly be neutral.
[00:34:17] It's not possible, and it doesn't work. Everything you do can stand for something greater. Okay. So, and I love the scene after Terry kind of saved serve. We get a little bit of a spark between ed and Terry here is just, yeah, it's a cute scene. I love the dropping of the glove. That was an accident at first.
[00:34:37] Cause I liked it so much that they kept it in. And uh, the, some of the lines are just so funny when Terry says the, uh, you was really a real mess, like talking about how she looked with braces and pigtails back in the day that just killed me and. I would say the same thing. Like, you know what, I'm just going to go.
[00:34:57] I'm so embarrassed, but it [00:35:00] shows that he's kind of an innocent, he's got this innocent mindset. He isn't really crafty. So it just reinforces that for us. And this SI just makes my heart skip a beat. I just get so fluttering inside. I don't
[00:35:13] Jack: [00:35:13] know about you. I mean, this entire time I'm putting myself in, uh, in Joey's shoes, ghost, Joey, you know, tailing ed on this, uh, this date.
[00:35:22] I don't even know what you'd call it, but, you know, I would be upset if I were Joey. I'd be like, what are you doing? Like, that's the guy that sent me to the roof, but of course, Terry didn't know what, you know, it was going to go down and ed doesn't know, and Terry still feels guilty about it. Like he wants to say it.
[00:35:38] So I think just like the inner, the inner conflict of Terry is super interesting. And I think it's just, I think the inner conflict of Terry is. Really the driving force of the movie for me, and just kind of where my main interest lies and just seeing like how badly he wants to, I think he really wants to expose everyone, but [00:36:00] he, at the same time is putting himself first.
[00:36:03] Yeah. He
[00:36:04] Emma: [00:36:04] just wants to be old Terry, the dock worker, easy, happy
[00:36:07] Jack: [00:36:07] life. Yeah. And, um, and I mean, he, he kind of mentioned stuff along those lines. Like he just wants to have a few extra potatoes don't we all at the end of the day and some changes Paki, he doesn't want to end up like that one bomb quote, unquote bomb that he meets.
[00:36:21] And that's the other thing he's so preoccupied with. I think labels and like he, he, he labels people as bombs all the time. I mean, he, he, he comes from a world. I mean, he's, he's, uh, an ex boxer prize fighter and. I think it's, it's easy to, you know, call people like, Oh, he's a bomb. Like whatever, like, uh, in that context within sports, and then just kind of continuing on to label people is that, uh, in the real world, but it's not quite as black, ironically black and white, like the movie is where, you know, someone is a [00:37:00] quote unquote winner or loser in life.
[00:37:01] Like there's a lot of gray area. And so I think that watching that progression of, uh, Terry in his mind, and I think between his interactions with father Barry, and of course just how strongly he continues to. Feel for ed. Then you kind of see this, uh, this, this arc start and it's a, it's a beautiful thing.
[00:37:26] So,
[00:37:27] Emma: [00:37:27] absolutely. And you mentioned ghost Joey not being happy. Uh, well, Joe is not around her dad is, and her dad sure is not happy with her interest in Terry. We get a little character insight that ed is kind of attracted to lost causes and that she's also very dedicated to the fight for justice. And that's, what's most important to her, despite her parents trying to send her to school, she knows the sacrifice they made, but she needs to spend her time and energy trying to make things right.
[00:37:55] And it's just further hammering down that theme of. [00:38:00] Justice.
[00:38:06] Jack: [00:38:06] All right. So moving on, although Terry resents being used as a tool in Joey's death and despite father Barry's impassioned sermon on the docks, reminding the longshoreman that Christ walks among them, that every murder is a crucifixion. Terry is at first willing to remain deaf and dumb, even when subpoenaed to testify.
[00:38:24] However, when ed unaware of Terry's role in her brother's death begins to return Terry's feelings. Terry is tormented by his wakening conscience and confesses the circumstances of Joy's death to father Barry and ed horrified, ed runs away from him. We think of this, what do we think of this? But are our initial thoughts,
[00:38:45] Emma: [00:38:45] right?
[00:38:45] Yeah. I mean, the romance is really picking up a bit here, this whole, her on the roof and them kind of getting together more. The chemistry is great. The tension is great. The, [00:39:00] I really see it between these two and Oh man, there is no chance. She's turning down a beer with Marlon Brando, Terry Malloy.
[00:39:09] Jack: [00:39:09] I was going to say, I mean, this Marlon Brando, this Terri Malloy kind of was the OJI, uh, cut in the eyebrow look, um, is now very, very popular with the, uh, the gen Z.
[00:39:25] The, uh, I dunno, the new generational folks. Maybe not ne not necessarily the gen Z, but I know it was kind of a hot look a few years back to like put a fake, you know, scar in your eyebrow. I feel like this is a real, yeah, exactly. I mean, like it looks bad-ass, but you know, Terry definitely got in a fight.
[00:39:43] He's not some tech soccer that just took a razor and just put it in there. It's a little tough. So yeah, Marlon Brando looks like a stud. The stud that he is in this, you know, granted he doesn't have the, uh, the shirt pop in like a streetcar named desire, but he doesn't need it. He's just a [00:40:00] beast. And, um, yeah, sorry.
[00:40:02] It's uh, I guess hype up Marlon Brando there for him. He he's
[00:40:05] Emma: [00:40:05] he's uh, he's absolutely magnetic. I mean, how, how do you not kind of have a thing for him in this movie? Yeah, I've said it before. I'll say it again. Elliot Khazan knows how to direct men. Some of it's their own charm, but I mean, it's something that's pretty consistent across the board.
[00:40:25] Be it James Dean or Marlon Brando or warn beat or whoever.
[00:40:29] Jack: [00:40:29] It just, it feels so natural when they're at the bar and, you know, they're, they're kind of throwing back. I mean, he's throwing back the shot. She's kind of sipping on it and then he's like, no, like this and then boom. It's like, I don't know. You could just sense that there was kind of like a natural chemistry going on between them.
[00:40:45] And, um, it just felt like a thing that you. Would witness in real life. I don't know. I don't know how to say it. I
[00:40:51] Emma: [00:40:51] think that's always a Mark of good acting. If it feels like you forget that you're watching a movie,
[00:40:57] Jack: [00:40:57] right? No, I felt like I was just at the table with [00:41:00] them and you could just see, like, it, it, wasn't kind of this, this romance, this kind of buildup wasn't out of nowhere.
[00:41:06] Like you could kind of see it gradually start to grow. So, um, great buildup. Yeah, no, it's great buildup and I just,
[00:41:13] Emma: [00:41:13] I love the energy. I love the energy of these two. It's great. The lines are great too. So Terry gives his philosophy in life here. Do it to him before he does it to you. And maybe this is a statement on everyone's screwing everyone over.
[00:41:28] You've got to protect yourself. And then the quit worrying about the truth and worry about yourself. Uh, obviously this is where the points will be with dynamic change that will come in to Carrie Terry's character development. Yeah. The stakes really raise a little bit here when Carrie is subpoenaed. And then we run into the gangsters again, when they're telling him to lay off and you know, not hang out with ed anymore.
[00:41:54] And Shirley says it's an unhealthy relationship. And my first response is
[00:41:58] Jack: [00:41:58] I'll say, yeah, [00:42:00] putting it mildly. But again, I mean, this is, I think where jumping a little bit forward, we start to see a peer pressuring father Barry come out the Catholic guilt, very come out.
[00:42:15] Emma: [00:42:15] Just tell
[00:42:15] Jack: [00:42:15] her, you know, what's the worst that's going to happen.
[00:42:18] Okay. Father Barry, um, easy for you to say, like.
[00:42:23] Emma: [00:42:23] There's a few father Berry moments that are, I don't want to say high and mighty, but very high pressure. When, when Duke is killed and the quote unquote dock accident, father Barry then kind of gives a speech to everyone and he compares the informants that are killed quite literally to Jesus.
[00:42:47] Right. And if you don't inform your, like the people that killed Jesus, that's heavy.
[00:42:55] Jack: [00:42:55] That is very heavy. I mean, while you're watching it, you can [00:43:00] almost tell like, this is a famous scene. Like this is a very powerful scene. It was probably the most, you know, impactful or just kind of like captivating, I think while I was watching it like this one, and of course the, uh, the scene a little bit later on in the, in the cab,
[00:43:16] Emma: [00:43:16] you're definitely appealing to a certain group of people here.
[00:43:19] We saw that the Catholic. Legion of decency has had some say in things throughout the years and what's getting put out there. It's just wow. Really heavy. And it reaffirming that change is reliance on each individual person to act. And it won't get better unless you start with yourself and yeah, this, this will be seen for sure in this movie, but we've seen it again.
[00:43:43] Like I said before in Casa Blanca, like movement changes with the individual. Yeah. And so it gets harder and harder. We get, in my opinion at other great movie kiss between Terry and ed, when she brings him her brother's jacket. And I'm like, [00:44:00] okay, Joey had it. And then Duke and had it, I'm like not ha from that thing is curse.
[00:44:05] Don't take it. Terry. And I don't know, father Barry really puts things into perspective of, I don't care how nice they treated you or how good of friends you were. The world is bigger than yourself and your world. And you need to think of society at large. I feel like that's a really interesting, uh, sentiment that could be kind of translated to situations today.
[00:44:29] Yeah. And I really like how they did the reveal scene. To eat about when Terry decides to tell her about his involvement with her brother's death, with the horn blowing in the background, that is such a terribly annoying, uncomfortable sound. We all know what it's like. We, as an audience know that feeling and we can vicariously then feel what ed is feeling, because we know that that, Oh, that like anxiety feeling of God.
[00:44:55] I just want it to end when, when you hear that annoying sounds, right. That's kind of [00:45:00] what she's feeling. And we can feel that then also great delivery on her part as well. Uh, Emory saying, just sit my cap to you, girl. She, she killed it. And also what I've kind of loved is, okay. So when you're telling a story, there's your, your story.
[00:45:16] And then there's these little like sub. Reddit threads that are woven in. And one of which is Terry's boxing career life. We've been progressively throughout the film, getting insight into Terry's life. As a boxer, we learned that he had talent there. Pretty good. Uh, and then we learned that he lost and that was unexpected.
[00:45:39] And now we learn that it was fixed when he's kind of talking to this investigator guy. So that's also been a fun little story to see, develop underneath everything else. Uh, the mystery of that, the reveal of
[00:45:52] Jack: [00:45:52] that go the sentiment. I think that that delivery has seen of Terry telling ed the news. I like how you can kind of interpret, [00:46:00] uh, the delivery in multiple ways.
[00:46:02] I mean, you can kind of read his lips, but the reaction shots of Eva Marie saying are also just amazing. And, um, they're you just think of your own kind of personal moments in life, where you had to kind of tell someone where you were just dreading telling them that and you just, you know exactly what it feels like.
[00:46:20] And so. Uh, I think that that was just a perfect encapsulation of that feeling. And so that was pro I think that was actually my favorite scene. I think that was my favorite scene, so. Wow, cool. Yeah, I thought it was cool. I liked it.
[00:46:40] next. As Terry increasingly leans toward testifying friendly decides that Terry must be killed unless Charlie can coerce him into keeping quiet. Charlie tries bribing Terry offering him a good job where he can receive kickbacks without any physical work. And finally threatens Terry by holding a gun against him, but recognizes that he has [00:47:00] failed to sway.
[00:47:00] Terry who blames his own downward spiral on his well-off brother. Terry reminds Charlie that had it not been for the fixed fight Terry's prize fighter career would have bloomed. I could have had class. I could have been a contender. I could have been somebody laments Terry to his brother and said, instead of a bum, which is what I am let's face it.
[00:47:20] Charlie gives Terry the gun and advises him to run Terry flees to his apartment, where she first refuses to let him in, but finally admits her love for him. Friendly. Having Hetrick only watched has Charlie murdered that night near the apartment and his body hung in an alley is bait to Latteri, uh, to his death.
[00:47:38] But Terry and ed, both escape after fighting Charlie's body. Terry sets out to shoot friendly, but father Barry prevents it by blocking Terry's line of fire, convincing Terry to fight friendly by testifying in court. Instead Terry proceeds to give damaging testimony, implicating friendly and Joey's murder and other illegal activities causing friendlies mob boss to [00:48:00] cut him off and friendly to face indictment.
[00:48:04] Emma: [00:48:04] Another big turning points. I would
[00:48:07] Jack: [00:48:07] say, I would say,
[00:48:09] Emma: [00:48:09] yeah. Okay. So this mob beating at the very beginning of the section, uh, further insight, and I think you, as an audience, you can really connect with the guilt that people might lay on you and Charlie's predicament. And, uh, we go on to one of the most famous scenes in cinema history.
[00:48:28] The, I could have been a contender speech, some of the best acting you'll ever see from actors. Amazing. Incredible. And, and we get the conclusion of Terry's boxing journey. Yeah. It was his brother that set him up this whole freaking game, set him up to lose this fight and it ended up ruining his life.
[00:48:53] Yeah, I love that. It's just been kind of separated throughout the movie and we finally get that realization. Terry gave up his [00:49:00] life goals, his dreams, all for these people that really didn't care about him and used him and the, just the delivery here. That's delivery. It's just beautiful. The, and the score, I think this is where I'm like, yes, yes.
[00:49:16] Leonard Bernstein. The score's amazing. Uh, it wasn't him. Charlie. It was you like that heartbreak. This scene just rips me up the conflict. It's amazing. What were your thoughts watching the scene for the first
[00:49:28] Jack: [00:49:28] time? Yeah, I mean, I think that it was, so it was, again, it kind of reminded me of some Scorsese, uh, moments kind of like you knew what was on the line.
[00:49:42] I had no clue how this, uh, this moment was going to, to end really. I think I could have seen. And predicted like, you know, then talking and, uh, kind of everything that happens to Charlie. Ultimately, I knew that that was going to be tough. I think that, you know, brother dynamics are, [00:50:00] uh, you know, pretty strong, strong points in, in movies in general.
[00:50:04] And to, I mean, have something of this kind of magnitude, like convince your brother, not to, not to rat or you have to kill him. Well, we'll kill him. You know? Uh, I'd say the stakes are pretty high there. And, um, to have kind of that conversation, I think kind of go in a direction of something that had been an underlying issue for a long time, as you could tell, uh, I think that you could just see, you could see the history between those two brothers very well.
[00:50:41] And I think, uh, some of the resentfulness I think was coming out, uh, and. It was, I mean, it was hard to watch, but I think Charlie ultimately accepted his fate. I think Charlie kind of knew as well. I mean maybe like maybe he had a [00:51:00] chance to, you know, to dip right, right after that ride. But I think he kind of knew in that moment what his fate was going to be, and he ultimately kind of bought into what Terry was ultimately working towards, which is a higher cause.
[00:51:18] So it was, it was really, I think, beautifully done. And uh, again, Marlon Brando, I mean just endless, endless applause, uh, for that performance and the deliveries. Um, very, very strong.
[00:51:30] Emma: [00:51:30] And I do love that we give a more kind of a. Empathetic look at Charlie. Even you're not seeing that these gangsters is just these purely evil one dimensional things.
[00:51:47] You're finally seeing someone who who's in that camp and is feeling a little conflict and guilt as well. And I just thought that that was terrific, but beautiful scene, [00:52:00] such organic acting that method acting really shows through here and what I kind of love. Okay. So like he sends Terry away, but we get a close look at the cab driver who is played by Nam I a purse off.
[00:52:15] And if he looks familiar it's because he played little phone apart in some, like it hot, the gangster in that movie. So very gangster presence. That one, it just thought that that was a cool little cameo. He was not accredited. So it's just, it's just fun. And. The trap. I just knew the first time I even watched this, I just knew that this was a trap and terrorists should have to the suspense with this, with Terry going in the alley and ed chasing after him.
[00:52:45] It's it's just great. And then when he discovers Charlie, you have that same, uh, that same segment of the score from the cab ride. And now knowing more about the relationship as brothers, it makes the [00:53:00] scene so sad when he finds Charlie dead, in my opinion. Yeah. It really packs that punch. And then look at that, we get that the only way to serve justice and truly make things right, is to talk in court, not shooting someone up at a bar, it just reaffirms take it to the people in charge or, you know, and I think it's also worth noting that this hearing was televised with Terry and all this stuff much like the actual heubeck hearings.
[00:53:32] Jack: [00:53:32] Yeah, no, definitely good thing to point out there. Uh, I mean, again, I think that that just reaffirmed how important of a case it was. And, um, I just, I love Terry's demeanor. I love how he's just, he's not very refined. I can't remember exactly what he says instead of I do, but like how they have to correct him there.
[00:53:52] And he's just ready. I mean, it's just very cut and dry. Um, kind of, kind of like Goodfellas, almost [00:54:00] like it's a little bit like that ending. And I think I could just see a lot of parallels between the two. Um, I mean, of course they're both gangster movies, but on one hand you're very happy to see him testifying, but then you kind of think to yourself, like, is he in trouble?
[00:54:14] Like, what's, I'm kind of already thinking what's going to happen after this. And so. I think it ultimately sets up a very, very, uh, tense, final conflict here. But, um, yeah. Any, any other thoughts on this kind of segment for you?
[00:54:32] Emma: [00:54:32] No, it's quite an Epic ending. Yeah. I'll say that
[00:54:42] Jack: [00:54:42] after the testimony friendly, announces that Terry will not find employment anywhere on the waterfront. Terry is shunned by his former friends and by a neighborhood boy who had previously looked up to him, refusing ed suggestion, that they move far away from the waterfront together. Terry shows up during recruitment at the docks [00:55:00] when he is the only man not hired Terry openly confronts friendly, calling him out and proclaiming that he is proud of what he did.
[00:55:07] The confrontation develops into a vicious brawl with Terry getting the upper hand until friendly thugs gang up on Terry in nearly beat him to death. The dock workers who witnessed the confrontation show their support for Terry by refusing to work unless Terry is working too. And ultimately they pushed friendly into the river, encouraged by father Barry and he, the badly injured Terry forces himself to his feet and enters the dock followed by the other workers, soaking wet and face guard friendly.
[00:55:35] Now left with nothing swears revenge on all of them, but as threats, fall on deaf ears as they enter the garage and the door closes behind them on the waterfront, the waterfront.
[00:55:48] Emma: [00:55:48] Well, my first, one of the things that stood out to me a little after the testimony, one of the first things that the mob says is, or that friendly says is that Terry will never work again at this town or [00:56:00] whatever, very much the threat in real life with the Hugh act hearings.
[00:56:05] And I don't know, that was just so to me, like that, being able to continue making a living and stuff that. Sentiment being shown in this light, through Elliot Roseanne's voice. Yeah. It's just very interesting. And even Terry expressing feelings of conflict being a snitch or a Canarian. Yeah. I don't know the exact, I don't know what his true heart was in all of this and how he felt and experienced all this.
[00:56:33] But I feel like you get a sense of this. Isn't easy. Like even though Terry in this situation, in his own story knows he's doing the right thing. He had to give up a lot in return for that. Uh, what were your thoughts here in some of these final moments? These, these brawls, these fights, he's
[00:56:55] Jack: [00:56:55] the roughing up.
[00:56:56] I mean, I was, I think initially a little confused because I thought that [00:57:00] friendly would have immediately gone to jail. I didn't know that he could kind of go back. Um, I was kinda, I was kind of just like, wait, what? Um, while I was watching it, I was a little confused there, but I mean, I still love seeing him return to the dock.
[00:57:15] I like the fact that he, um, I mean, he very well could have just left with ed and called it, you know, but instead he, he does sort of confront everyone and like the elephant in the room, the elephant on the dock, maybe the whale on the dock who knows, um, And he goes, and he tells them that, you know, he's still, he's not afraid.
[00:57:38] He's not afraid to show up to, to face them in person. And he still stands by his decision. He doesn't regret it. And, um, I think that's what the, the dock workers needed to see. They needed to see somebody not just, you know, go to court, but still stand firm and what they did. And I think that ultimately is the quote [00:58:00] unquote chapter ending on the organized crime within the waterfront.
[00:58:05] And, um, I mean, I just, I love how, uh, How this kind of mimics something that happened in real life. I mean, as you know, shortly after the films debut in 1954, the AFL dash CIO expelled the East coast Longshoremen's union because it was still run by the mob. So look at that. This is, yeah, this is a cool little scene here that I feel like might've had some very real, real world ramifications and effects and yeah.
[00:58:35] I mean, I just, I think the, it was just so wonderfully done him kind of walking to, uh, to the garage.
[00:58:44] Emma: [00:58:44] Oh, that's what, one of my favorite
[00:58:46] Jack: [00:58:46] scenes. Yeah, the camera work is phenomenal. I think that there are a few moments where you kind of get this Terry perspective, quote unquote, throughout the movie, but this, this final scene it's like him, it's kind of like reaching a [00:59:00] finish line almost after an Ironman or a marathon, you know, pick your poison where you think that.
[00:59:05] I mean, there are just a couple of moments where you think he's going. He's going down, like he's not gonna make it. And, um, I think for him to find that strength, it's almost the equivalent of a symbolic prize fighter, you know, world title or something. Like he, he made it like he still, um, He went out 12 rounds with, uh, with friendly and he, he kind of came up with this forest.
[00:59:28] So
[00:59:31] yo Berry, father Barry, I don't know, but, uh, yeah, no, he, he makes it and it's just a, it's a glorious ending,
[00:59:40] Emma: [00:59:40] the symbolism that you can be put through the ringer that you can feel so rough after doing something hard, but still be able to persevere and find that strength. Uh, it's absolutely phenomenal. Uh, yeah.
[00:59:56] On the waterfront overall. What'd you think? What'd you think overall?
[01:00:00] [00:59:59] Jack: [00:59:59] It was great. It was great. I think it's, uh, I call too many things to us, but it's such a vibe like it is. Um, it's definitely got a, a unique feel to it and. I think if you're in the mood for, yeah. That gritty kind of, um, moody movie film, uh, then this is perfect.
[01:00:17] This is perfect. I think it has great performances all around. Obviously. Uh, Marlon Brando is stellar, absolutely stellar and, um, yeah, highly recommend to anyone that is, uh, that is interested if you've listened to all this and you have not seen it. And, uh, yeah, I, I hope that you'd be at least curious to watch it at this point, but, um, but yeah, no, just amazing, amazing film.
[01:00:42] I'm happy that we got the chance to cover it. And, uh, and yeah, I'm a, what were your kind of parting thoughts here?
[01:00:48] Emma: [01:00:48] Well, I'll echo what I said earlier. I think that if I was just given the premise, this isn't one that would naturally appeal to me where I'm like, I have to watch it, but it's absolutely stunning movie, very [01:01:00] captivating.
[01:01:00] I don't see how it can't speak something to you. And. Yes. We obviously pointed out so much of how this was kind of like exam's response with his defense of his choosing to name names. But I think it has more value than just that I think that this can very much be looked at from a modern lens of choosing to speak up and stand up for what's right.
[01:01:29] Or, you know, your, your values and ethics. I just think of maybe people who have friends or family who might say something sexist or racist and how change happens when you, as an individual can speak up against those people. It kind of reminds me of Harry Potter. Uh, you know, it's hard to stand up to your enemies, but it's harder to stand up to your friends.
[01:01:50] And I just, I can't help, but think of that. And in the world we're living in, when there's just so much terrible stuff going on, uh, it's, it's really on you to try to make the world a [01:02:00] little bit more. I guess of working towards progress. Uh, so I do think it has value beyond maybe the intention, uh, or a message that people can carry on or see within themselves.
[01:02:15] Elliott Khazan has a complicated legacy. He produced some of the most phenomenal film pieces, and it's hard because, you know, and at the same time, so many other careers were impacted and destroyed and it's hard. It's hard. And I. I can't. I really, I really can't even imagine. So he's definitely an interesting figure to talk about, and I'm excited to cover more of his work maybe next week.
[01:02:52] Jack: [01:02:52] Yeah. What happens there? Yeah, we got some good stuff on the, I don't know the schedule for the old school movie podcast. Very [01:03:00] exciting. I was just going to let
[01:03:01] Emma: [01:03:01] you know now everyone, um, get excited for next week. Hopefully you liked this episode because next week it's not exactly a part two, but I think we'll get a little bit of an extension of some of the things we talked about this week.
[01:03:14] Next week episode is going to be so good. We haven't recorded it yet, but I can already tell you that I am so
[01:03:20] Jack: [01:03:20] excited. Oh yeah. Emma's Emma's really looking forward to it. I'm looking forward to it too, but Emma, Emma's really looking forward to it. So, uh, yeah, can't wait to cover that one. Guys stay, uh, stay in touch with us also movie podcast on Instagram, old soul pod on Twitter.
[01:03:34] Reach out to us, reach out to us. Tell us what you loved about this movie. Did you love Marlon Brando's performance? Did you love Eva Marie Saint? As much as we did or are you just, are you just a fan? Which is great too. Uh, we love, we love everybody again. Happy birthday. Kay. We hope you listen to all of that.
[01:03:51] Yes. Happy birthday. Kay. And uh, happy
[01:03:54] Emma: [01:03:54] Marlin Brando. Happy heavenly birthday.
[01:03:57] Jack: [01:03:57] Yes. So, uh, good stuff all [01:04:00] around everyone. If you would be inclined, we would also greatly greatly appreciate it. If you. Passed through our Patrion old school movie podcast and considered, uh, supporting the show by, um, any kind of donation that would be, uh, possible for you.
[01:04:16] We would just, again, greatly, greatly appreciate it, uh, for helping us cover the cost of the show. But, um, at the very least, at the very least, we just asked you to leave us a review on Apple. If that is your preferred streaming method, give us five stars, leave a little nice comment below. And, uh, and yeah.
[01:04:32] Um, anything else before we send off, just get pumped for next week? Definitely. Definitely. It's going to be fun guys until next time. Take care. And thank you again so much for joining us here on the old soul movie podcast.