Storstadshamn

Budd Schulberg's tale about the punchy Terry Malloy's existential broodings and awakening in the district around the gloomy Hoboken docks is one of those rare occasions when everything is right. To such an extent that the film did not even need a period of maturation before it achieved status as a classic, everyone involved felt it immediately. Untamed Brando - in his best role? (at one stage it was intended for Frank Sinatra!) - even hugged gossip columnist and enemy of the establishment Louella Parsons at the following Academy Awards, where he won, of course, a statue for Best Leading Actor. It is a piece of genuine American culture, where the toughness of the 30s Warner-produced gangster melodramas via the atmosphere of the 40s film noir is supplemented by the 50s new ''method'' school of acting, with its new dimension of acting and psychological characterizations. Despite a few mumbled lines the nuance is as clear as glass, even if the glass is gloomy, jagged and sharp. Elia Kazan's direction, Boris Kaufmen's photography, Leonard Bernstein's music. Brando, Saint, Malden, Cobb and Steiger (in his second film role); they had class, they became great contenders, in one of the truly great films.

Premiärstatus
–: Orig. titel
On the Waterfront: Medverkande
Marlon Brando, Lee J. Cobb, Rod Steiger: Producent
Sam Spiegel: Manus
Budd Schulberg, based on a story suggested by a series of articles by Malcolm Johnson: Foto
Boris Kaufman: Musik
Leonard Bernstein: Talat språk
English