nan | 楠木

On the Waterfront (1954), possibly represents Marlon Brando at his prime. This is perhaps only the fourth or fifth film I’ve seen him in (the first obviously being The Godfather, the other few include Apocalypse Now and A Streetcar Named Desire), and my impression of this actor is definitely heavily influenced by his performance in The Godfather, so it feels very inspiring to watch him in his prime age. (As a side-note, I have a similar feeling when watching Pacino’s earlier career works, namely, before his comeback in Sea of Love).
The film tells a very straightforward story of workers fighting the oppression of the union. The workers as a group forms an interesting study in human nature: they are angry at the union, yet they are somehow bound by their own code of honor (D and D, standing for deaf and dumb, which means never be a rat). As a group they are suffering, yet as individuals they are also numb at the suffering of their peers. It’s very easy to relate this to other groups who have suffered due to oppression/aggression, in other places at other times – the Chinese, as an obvious example.
Brando’s character is not someone who’s “good” from the start. His character is torn between facing his conscience and being loyal to his group. Events eventually push him towards that standoff with the oppressors, but he does not win a clear victory. Indeed, though the ending is certainly uplifting, I felt the real victory won was only inside his heart and soul. He certainly redeemed himself, but the oppression probably won’t end easily.