How does Kazan create tension and suspense in ‘On the Waterfront?’ (unfinished) - Rebecca Elia Kazan’s 1954 film On the Waterfront portrays a society gripped by corruption and injustice. The choice of location off traditional sets and the direction by Kazan supports the build up of tension and suspense of the film. He adopts a wide range of symbols and motifs to emphasise the oppression and entrapment of the people on the docks and the corruption caused through the mob and their actions. The music score by Leonard Bernstein added to the techniques used by Kazan by further highlighting the tension and suspense throughout the film. The adoption of symbols and motifs reflect on the corruption and injustices of the longshoreman of the time.
The elements of film noir, like the use of black and white, ads to the authentic nature of the film, almost touching on the style of a documentary. The use of black and white is purposely done, because at this time, it was possible to make films in colour. Not only does the black white give the film that realistic raw look on the docks, but also the use of the grainy, unclear filter that creates a poverty, dirty look over the film. Not only do the film noir elements give the film authenticity, but also the fact that the film is based on Malcolm Johnson’s Pulitzer Prize winning articles that expose the waterfront corruption and the film is shot on location in Hoboken, New Jersey. Although Terry, the protagonist, overthrows the philosophy of D’n’D (dumb and deaf) and becomes a conscientious person, he is partially responsible for his fate.
The characters of Joey Doyle and Dugan both attempt to stop Johnny Friendly’s hold over the waterfront but ultimately are unable to make a change alone. Kazan illustrates that it is only when a group of individuals unite together change can be made in a corrupt society. However, the ambiguity of the final shot of the film alongside the references to corrupt outside of the constrained city of Hoboken highlight Kazan’s belief that injustice and tyrannical leadership is everpresent within society.
For example, throughout the film a strong sense of place is evoked. The lens of Boris Kaufman’s (Cinematographer) camera distils a cityscape which is menacing, insular, if not, claustrophobic. Throughout the film, there are constricted spaces such as the dark, cavernous hold of the ship, the pigeon cages, the bar room, the narrow, dingy alleyways filmed with tight angles to register the sense of entrapment, alienation and suffocation. Even the diffused light of day is shrouded in a blanket of fog and mist.
The plight of the common man against corruption and adversity has been well documented throughout time in both history and fiction. Through his use of monochromatic Film Noir style, Elia Kazan’s iconic film On the Waterfront is one such documentation, telling the story of the union boss’ monopoly over the longshoremen on the 1950’s waterfronts. The waterfront, a cold and harsh environment, is the ideal breeding ground for corruption amongst the union mob; murder and extortion are just some of the illicit activities that occur. However, whilst Kazan paints a bleak and dire picture for the longshoremen, the film provides a glimpse of hope in its protagonist, Terry Malloy. While others have failed before him, Terry finds the courage to take a
All of these decisions result in an environment that heightens the reality and depth of the characters’ struggles and emotions. Kazan filmed On the Waterfront outside on the docks in what happened to be one of New York’s coldest winters in years. Breaths are visible and steam up in the bone-cold air. A small detail like this suggests the brutal treatment these dock workers face daily, not only from the corrupt union officials but from the elements themselves. The visible breaths also affirm the unique existence of each character—it’s difficult to lump any of these men into the background.
In 1984 by George Orwell, revealing imagery is used to establish the mood of the society in the book. Orwell uses dark imagery, coupled with totalitarian implications, that creates the terrifying influence of the state on its people. As well, Orwell uses several animal images to represent the deterioration of humans. In the first few paragraphs of the book, Orwell uses images that appear to be old and unclean to provide a dark setting which opens the story. Winston’s experience through “the hallway [that] smelt of boiled cabbage and old rag mats” creates the disgusting feel of one’s life in this dystopian society.
Similarly to Tom Brennan, this leads him to face immense psychological barriers such as schizophrenia, fear and antisocialism, which accordingly breeds his hatred and hinders his transition to adapt to his new world. The high angle shot belittles him within his dark prison cell, and the panorama shot of the penitentiary evokes his immense suffering and the loss of his sense of identity. Additionally, the nondiegetic crescendo of adrenaline-inducing instrumentals creates a chaotic atmosphere which effectively exudes the inner agonies of a broken man who is left with nothing. In such ways, the initial stages of the film evince the protagonist’s unwillingness to accept his new world and conveys his refusal to seek companionship. Comparably to The story of Tom Brennan whereby the protagonist fails to adapt to his new paradigm due to immense social and emotional barriers, Norman Jewison’s biographical film The Hurricane demonstrates that coming in terms with inner fear and anxiety allows one to overcome the emotional barriers and enter into a new world that affords a greater self.
It also symbolises the lack of freedom when he says ‘in every ban.’ The last line in the second stanza is ambiguous ‘The mind-forg’d manacles I hear’ is a metaphorical phrase that reinforces the feeling of being trapped in London, the word manacles has connotations of slavery and that the people of London are enslaving themselves. Blake shows that even the children living in London at
In John Doe/the filmmaker’s mind, our world has become too full of people accepting evil because it has become so common-place. The vast majority of the movie takes place in the cold and dark oppressive city. Rain falls down like a meteor shower, people crowd around Somerset and Mills. All adding to a claustrophobic feeling of oppression, making the city feel like it is the main antagonist, and John Doe is just the tool it is using to attack Somerset and Mills. Doe makes several comments about how he admires Mills in the films climax, and thus, Doe himself, rebels against being the city's tool; taking them far out of the city's grip; taking them to the polar opposite of the city.