On the Waterfront “I’m with Me – Terry”. to What Extent Is Terry Responsible for His Own Fate.

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“I’m with me – Terry”. To what extent is Terry responsible for his own fate. Elia Kazan’s 1954 award winning drama, On the Waterfront, depicts Terry Malloy, an ex-prize fighter turned longshoreman, who is caught up in ties with the corrupt waterfront union, as undergoing a moral and personal transformation. On the Waterfront is a combination of cinema verite, film noir and Italian neo-realism. 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. Other characters like Edie and Father Barry are critical catalyst’s in driving his change. In the opening sequence of the film, the audience is presented with a musical score that is bombastic and battle like with the steady drums, but also the lone saxophone that howls along side with the harsh percussion. This suspenseful music suggests that Terry is about to go on a journey or transformation. As we see Terry approach whistle blower’s apartment, Joey Doyle, Terry is shot from high camera angles. These high camera angles are indicative of how Terry is trapped by the union and that he has little to no moral standing. This is in

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