Other Sellers on Amazon
100% positive over last 12 months
Image Unavailable
Color:
-
-
-
- Sorry, this item is not available in
- Image not available
- To view this video download Flash Player
On the Waterfront (Special Edition)
Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
- Select the return method
- Ship it!
Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
- Select the return method
- Ship it!
Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
- Select the return method
- Ship it!
Additional DVD options | Edition | Discs | Price | New from | Used from |
DVD
February 19, 2013 "Please retry" | Criterion Collection | 3 |
—
| $27.10 | $14.25 |
DVD
June 9, 2014 "Please retry" | — | 1 |
—
| $9.53 | $8.17 |
DVD
April 16, 2007 "Please retry" | — | 1 |
—
| $10.39 | $5.19 |
Watch Instantly with | Rent | Buy |
Purchase options and add-ons
Genre | Drama, Crime, Romance, Drama Classic, Award Winning |
Format | Special Edition, Multiple Formats, NTSC, Closed-captioned, Black & White, Subtitled |
Contributor | Tami Mauriello, Boris Kaufman, John F. Hamilton, Gene Milford, John Heldabrand, James Westerfield, Rod Steiger, Karl Malden, Lee J. Cobb, Pat Henning, Sam Spiegel, Rudy Bond, Marlon Brando, Eva Marie Saint, Budd Schulberg, Malcolm Johnson, Leif Erickson, Elia Kazan, Tony Galento See more |
Language | English |
Runtime | 1 hour and 48 minutes |
Customers usually keep this item
This product has fewer returns than average compared to similar products.
Frequently bought together
Similar items that may deliver to you quickly
- Sunset BoulevardCecil B. DeMilleDVDFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Wednesday, Mar 27
- Double Indemnity (The Criterion Collection) [Blu-ray]Fred MacMurrayBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Wednesday, Mar 27
- The Graduate (The Criterion Collection) [DVD]Dustin HoffmanDVDFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Wednesday, Mar 27
- A Streetcar Named DesireElia KazanDVDFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Wednesday, Mar 27
- Paths of Glory (The Criterion Collection) [DVD]Kirk DouglasDVDFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Wednesday, Mar 27
- ChinatownJohn HustonDVDFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Wednesday, Mar 27
From the manufacturer
Marlon Brando stars in this hard-hitting drama about an ex-prizefighter who goes up against labor leaders to expose corruption in the ranks.
Marlon Brando gives one of the screen's most electrifying performances as Best Actor in this 1954 Academy Award winner for Best Film. Ex-fighter Terry Malloy (Brando) could have been a contender but now toils for boss Johnny Friendly (Lee J. Cobb) on the gang-ridden waterfront. Terry is guilt-stricken, however, when he lures a rebellious worker to his death. But it takes the love of Edie Doyle (Eva Marie Saint), the dead man's sister, to show Terry how low he has fallen. When his crooked brother Charley the Gent (Rod Steiger) is brutally murdered for refusing to kill him, Terry battles to crush Friendly's underworld empire. Directed by Elia Kazan (A Streetcar Named Desire) and written by Budd Schulberg (What Makes Sammy Run?), this unforgettable drama about Terry's redemption is among the most acclaimed of all films.
|
|
|
---|---|---|
|
|
|
Product Description
Marlon Brando gives one of the screen's most electrifying performances as Best Actor in this 1954 Academy Award(r) winner for Best Film. Ex-fighter Terry Malloy (Brando) could have been a contender butnow toils for boss Johnny Friendly (Lee J. Cobb) on the gang-ridden waterfront. Terry is guilt-stricken, however, when he lures a rebellious worker to his death. But it takes the love of Edie Doyle (Eva Marie Saint), the dead man's sister, to show Terry how low he has fallen. When his crooked brother Charley the Gent (Rod Steiger) is brutally murdered for refusing to kill him, Terry battles to crush Friendly's underworld empire. Directed by Elia Kazan (A Streetcar Named Desire) and written by Budd Schulberg (What Makes Sammy Run?), this unforgettable drama about Terry's redemption is among the most acclaimed of all films.
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Product Dimensions : 7.5 x 5.25 x 0.5 inches; 2.4 ounces
- Item model number : 78409
- Director : Elia Kazan
- Media Format : Special Edition, Multiple Formats, NTSC, Closed-captioned, Black & White, Subtitled
- Run time : 1 hour and 48 minutes
- Release date : October 23, 2001
- Actors : Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Pat Henning
- Dubbed: : French
- Subtitles: : English, French, Thai, Mandarin Chinese, Portuguese, Spanish, Korean
- Producers : Sam Spiegel
- Language : Unqualified
- Studio : Sony Pictures Home Entertainment
- ASIN : B00003CXBU
- Writers : Budd Schulberg, Malcolm Johnson
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #4,970 in Movies & TV (See Top 100 in Movies & TV)
- #135 in Romance (Movies & TV)
- #670 in Drama DVDs
- Customer Reviews:
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on AmazonReviews with images
-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
That's right, this was Brando's Academy Award winning film role of Terry Malloy, a pigeon-loving, ex-boxer living and working a hard knock, disrepute life in the footsteps of his corrupted older brother
Charley the Gent (Rod Steiger) and gangster boss, Johnny Friendly (Lee J. Cobb). This movie is a story of redemption. Not exactly an original theme for a film but it's how Brando's Terry struggles on this road to redemption that is just heartbreaking! It is brilliant acting.
The iconic " I coulda been a contender scene" in the cab has been replayed countless times. In a matter of minutes, we get it! The relationship between these 2 brothers, Charley and Terry has been dysfunctional all their lives. It is one of disappointment, dishonesty, greed, loss of purpose and direction in life. Charley in a cashmere coat and supposedly educated, is a follower, doing whatever to appease his boss, anything to make a quick buck and feeding Terry the table scraps. The brotherly love is still intact here but Charley had to walk his private road to redemption too albeit, tragically. Terry is aware that life is more than a job "fixed" for him, very little or no work with a fat paycheck. There is hope for the future with honest and true prospects.
The journey Terry takes is aided by Edie Doyle (Eva Marie St.), kind, pure and patient, and Father Barry (Karl Malden), upright, strong, sensible guide to a conflicted Terry. They both awaken the goodness and conscience in Terry. At all times, without conscience, we cannot call ourselves human. Edie's love and understanding, and Father Barry's guidance is not quite enough to turn Terry into a snitch against his crooked boss, but tragedy upon tragedy helps him to replace fear and the false sense of loyalty to Johnny Friendly into courage and conviction, to achieve justice legally as per Father Barry's persistence. Why Terry's friends ostracize him for being a canary against the community abuser is beyond my comprehension though? Shouldn't Terry be hailed as a hero? Oh those pigeons!!
Still my personal favorite scene is when Terry and Edie are in the bar or as Edie says, the saloon getting acquainted. At one point, Edie practically begs Terry to help her resolve her brother, Joey's violent death off a rooftop. This is where Brando's genius for spontaneity, improvisation and realism just touches one's soul. Brando seems to be on his knees, begging Edie to understand that he can't help her. I could not take my eyes off Brando's expressive eyes and face in this scene. The worry, the pain, the yearning to do the right thing is plain to see. It was all so natural. Just watching Brando gently stroking his chin with his thumb repeatedly while explaining to Edie was like a nervous twitch we all can relate to when faced with a dilemma or have guilt, like tapping our fingers on a table. It's heartbreak overload. One would wish Edie should get Terry off the hook.
On The Waterfront is superbly acted by the supporting cast and directed by Elia Kazan. The on-location shooting added to the raw realism of longshoremen work. Shame on me. Somehow, I feel as if I lived under a rock all these decades for allowing this wild one, Marlon Brando to fly under the radar. Afterall, my top 10 list of leading actors of the Hollywood Golden Age includes, Bogart, Cooper, Peck, Heston, Olivier but no Brando. So, thanks to the restorative and technological advances in the film industry for giving me the opportunity to rediscover this so called " Greatest Actor Ever", Marlon Brando. A classically handsome man ( Brando in One Eyed Jacks, totally swoon worthy) who literally lived a large, unbridled life with personal and family tragedies who inspired future generations of actors, possessed a keen awareness of social issues, complicated, elusive, perhaps misunderstood.
Yet, Brando has sang, danced, and most of all acted to eternal cinema glory. He had a unique style and Method to his acting from Western to Shakespeare to musical to comedy to NC-17 and more!! And don't forget the accents! As director Bertolucci (The Last Tango in Paris) said of Brando, "He was a monster as an actor and a darling as a human being". So, 2 thumbs up and 5 stars to On The Waterfront. RIP, Mr. Brando. Thank you for your gift to us movie- goers. You just ended at the top of my list!
This movie has more in common with post-WWII neo-realism as introduced by filmmakers like Roberto Rosellini, than with other Hollywood studio-produced fare at the time. It is this hard-edged black-and-white atmosphere that Kazan depicts with passion and often sensitivity. Leonard Bernstein's symphonic score, easily among his best work, accentuates the emotions in key scenes with varied colors and swelling power. The ensemble acting is uniformly superb down to the smallest roles. The obvious standouts are Lee J. Cobb as Friendly, Karl Malden as Father Barry and in their screen debuts, Rod Steiger as Charley and Eva Marie Saint as Edie. But of course, the emotive force of this story comes from Brando, probably one of the most definitive performances ever filmed. At the beginning, his character seems too dim-witted to carry such a heavy story of redemption, but Brando's incisive portrayal immediately gets to the heart and soul of Terry's journey, his slow awakening to what he needs to do to save himself at the end. Just watch him try on Edie's glove in the park; react to her anger over her discovery of his role in her brother's death; explain himself to Edie in the saloon; stagger in his bloodied walk at the end, and most especially, confront Charley with his own disappointment in the much-played cab ride scene. All should be used as flawless examples in a master acting class. One could forgive all of Brando's later excesses and expensive star slumming for this one performance...it is simply that good.
Granted there are flourishes of melodrama heightened by Bernstein's music, but they are forgivable given the driving power of the story. Enough has been said of the parallels between this movie and Kazan's own role as an informer during the Communist witch-hunts at that time. Whether you see this film as a parable to justify Kazan's decision to name names doesn't really matter when judging the film's merits. It stands on its own as a cinematic masterpiece. It's a must-see.
The DVD transfer is very good, obviously taken from a pristine print. It contains a good featurette, "Contender - Mastering the Method", which has various people talking about the quality of the film as well as some insightful comments from Steiger himself. There is also an interview with Kazan, which is actually more revealing for what he doesn't talk about than what he does discuss, e.g., falling out with Arthur Miller, testifying to the House on Un-American Activities. Some interesting revelations emerge in these pieces, e.g., Brando's own disappointment after he saw his performance, Brando going to his therapist appointment during Steiger's close-ups in the cab scene, Kazan hating producer Sam Spiegel for pinching pennies during production. The alternate audio tracks by critic Richard Schickel and Elia Kazan biographer Jeff Young are informative though a bit on the gushing side. It is also worth noting that Kazan and Schulberg teamed up again two years later with their fascinating indictment of media celebrities, "A Face in the Crowd" (also strongly recommended).
it is an interesting collection of real life organized crime history in New York
if you read the real history first, this is a MUST SEE
Top reviews from other countries
The story is a crime drama about mobster Johnny Friendly’s dockside operations and Father Barry’s quest to bring him to justice, for which he requires Terry Molloy’s testimony. The plot however is Terry’s, as he goes from pigeon keeping dockworker and occasional mob stooge to a man seeking redemption once he falls in love with Edie, whose brother he helped lure to his death. On the Waterfront has been described as a melodrama, and in the sense that it focuses on plot at the expense of character, that is arguably true. Karl Malden’s Father Barry, convincingly acted though he is, remains little more than a priest with a strong sense of morality. Johnny Friendly is a one-dimensional mob boss. And so on. These characters are barely sketched and come alive purely because of the actors. Terry – with his past as a prize fighter, his work for Friendly and his fondness for his pigeons – is the only real exception. But as in any good melodrama, these characters serve the story perfectly, and it’s easy to see why Budd Schulberg won the Academy Award for Best Screenplay.
The story is also not as simple as it seems, or at least it isn’t as predictable as one might expect. It often confounds audience expectations, themselves conditioned by years of crime dramas. For example, Terry does not shoot Friendly (Father Barry talks him out of it), but defeats him by other means, first by testifying against him in court and then by furiously defying him at the docks, taking a beating and still getting back to his feet; the result is that the dockworkers turn on Friendly and throw him into the river. The film’s climax has notoriously been seen as director Eliz Kazan’s justification of his testimony in front of the House Committee on Un-American Activities (Lindsay Anderson described the ending as “fascist”) but it provides a fitting end to the narrative. Indeed the final scene is a triumph, as the camera follows a battered and bloody Terry proudly leading his fellow workers into the warehouse, whilst Barry and Edie look on and the dishevelled Friendly rants impotently.
Marlon Brando is indeed impressive here. He brings his famously naturalistic acting style to the role of Terry and makes it his own. If Brando’s acting seems visible, it’s only because generations of cinema fans have spent years examining what he’s actually doing. That shouldn’t distract us from the fact that he is entirely believable as Terry from his first scene, and he’s electrifying in the scenes that everybody tends to wax lyrical about, including the Contender scene. He’s notable too when Terry is gradually getting to know Edie, showing her his pigeons and almost shyly opening up to her about his past. Later, when he tells Edie that he’d like to help her but can’t, the audience believes him. Terry’s scenes with Edie as they gradually become closer are crucial to the plot – they have to convince us, since they relationship is the catalyst for his decision to betray Friendly, despite the risk he faces in doing so. This is particularly important because Terry is very much an anti-hero in a film from a time when these weren’t common in mainstream Hollywood cinema – he’s basically a small time crook convinced to do the right thing as much as by his attraction to Edie and revenge for his brother’s murder as by Father Barry’s appeals to his conscience.
Whilst Brando is undoubtedly the star, there are excellent performances too from Karl Malden as Father Barry, Eva Marie Saint as Edie Doyle, Lee J. Cobb as Friendly, and Rod Steiger as Charley. Steiger was just as much of a method actor than Brando and arguably more versatile, whilst Malden’s impassioned performance as Father Barry is no less impressive than Brando’s as Terry. All of the bit players convince, the likelihood being that Kazan wouldn’t have accepted anything else; indeed, in search of naturalism, he cast former professional boxers as some of Friendly’s heavies.
Lots of factors make On the Waterfront deserving of its classic status. They include Leonard Bernstein’s economically used, often discordant, deliberately jarring score, which becomes increasingly prominent after the taxi cab scene as the film starts to build to a climax. Then there’s Boris Kaufman’s cinematography, with his use of the low- and high-angle shots that help Kazan to exploit the often claustrophobic locations to maximum effect. It’s a very visual film, with creative camerawork and almost noir-ish lighting. The use of sound is masterful: there’s a fascinating scene in which Terry confesses his part in Joey’s murder to Edie, but we don’t hear it because the dialogue is drowned out by a ship’s horn; the meaning of the scene is conveyed by Brando and Saint’s facial and physical expressions. There are innumerable other small details – the costumes are one, the clothing worn by Friendly and his men emphasising their opulent, crime-funded lifestyle and contrasting with the rough working clothes of the dockworkers, including Terry.
A film as extensively written about and as frequently lauded as On the Waterfront can struggle to live up expectations. It’s not the only Eliza Kazan film worth watching, and it isn’t the only Marlon Brando vehicle worth watching; nevertheless, it is every bit the classic people say it is. Whilst cinema techniques have changed dramatically since 1954, it remains a masterful example of the film-makers art and – perhaps more importantly – it remains a gripping slice of melodrama.
Der Film basiert auf einer Reportage des Journalisten MALCOLM JOHNSON, die in der "New York Sun, unter dem Titel "Crime on the Waterfront" veröffentlicht wurde. Darin wurde über die katastrophalen und menschenunwürdigen Bedingungen der New Yorker Hafenarbeiter berichtet.
Der Stoff wurde später von mehreren Autoren in verschiedenen Drehbüchern aufgearbeitet, fiel jedoch in die "McCarthy-Ära", wo Themen wie Gewerkschaft eher etwas schwierig waren, weshalb der Stoff lange Zeit nicht umgesetzt wurde.
Regisseur ELIA KAZAN wurden ebenfalls kommunistischer Umtriebe vorgeworfen, er wurde aber rehabilitiert, nachdem er vor dem HUAC-Ausschuss die Namen linker Weggefährten preisgab.
Aus diesem Grund schlug auch MARLON BRANDO zunächst die Hauptrolle des "Terry Malloy" aus, letztendlich konnte ihn aber Produzent SAM SPIEGEL doch noch dazu überreden.
Zu seinem großen Glück, denn diese Rolle brachte ihm nicht nur den Oscar für den besten Hauptdarsteller ein, sie war auch ein Grundstein für den "Mythos" MARLON BRANDO. Die Rollen des knallharten und ungeschliffen Arbeiter, des Rebellen der gegen den Strom schwimmt, sollten ihn künftig begleiten.
Bei "Die Faust im Nacken" kann aber nicht nur BRANDO beeindrucken und überzeugen, auch KARL MALDEN, als engagierter und unbequemer "Pater Berry", LEE J. COBB, als fieser Gewerkschaftsboss "Johnny Friendly", ROD STEIGER, als "Charley Malloy" und EVE MARIE SAINT, als "Edie Doyle", liefern grandiose Leistungen ab. Dadurch, dass alle entscheidenden Rollen mit überragenden Darstellern besetzt wurden, wirkt "Die Faust im Nacken" auch so glaubhaft und authentisch. Über allen thront aber MARLON BRANDO, der hier tatsächlich eine seiner besten Leistungen abliefert.
Der Film handelt vom Kampf der "kleinen Arbeiter" um Anerkennung und Gerechtigkeit, vom Wunsch dem Elend zu entkommen und dem Kampf um ein menschenwürdiges Dasein. "Die Faust im Nacken" ist ein sozialkritischer Film der die Ausbeutung der Arbeiterklasse und die sozialen Missstände des Amerika der 50er-Jahre anprangert. Aus heutiger Sicht finde ich den Film auch wieder interessant, denn momentan werden die Rechte der Arbeiter, die man sich über Jahrzehnte erarbeitet hat, wieder Schritt für Schritt und von der Öffentlichkeit wenig beachtet, beschnitten und zurückgefahren.
Mein Fazit: "Die Faust im Nacken" ist definitiv ein Klassiker, der ein wichtiges Thema anschneidet, das auch aus heutiger Sicht wieder brandaktuell wird. Die Darsteller sind alle überragend, dennoch thront über allen MARLON BRANDO, der einfach brillant und sehr facettenreich die Rolle des "Terry Malloy" verkörpert.
Wer auf alte Klassiker steht, der kommt hier voll auf seine Kosten, man muss aber diesen "nostalgischen Flair" unbedingt mögen, ansonsten wird das nichts"!
Meine Bewertung: 10 von 10 Punkten.
Reviewed in Germany on February 25, 2018
Der Film basiert auf einer Reportage des Journalisten MALCOLM JOHNSON, die in der "New York Sun, unter dem Titel "Crime on the Waterfront" veröffentlicht wurde. Darin wurde über die katastrophalen und menschenunwürdigen Bedingungen der New Yorker Hafenarbeiter berichtet.
Der Stoff wurde später von mehreren Autoren in verschiedenen Drehbüchern aufgearbeitet, fiel jedoch in die "McCarthy-Ära", wo Themen wie Gewerkschaft eher etwas schwierig waren, weshalb der Stoff lange Zeit nicht umgesetzt wurde.
Regisseur ELIA KAZAN wurden ebenfalls kommunistischer Umtriebe vorgeworfen, er wurde aber rehabilitiert, nachdem er vor dem HUAC-Ausschuss die Namen linker Weggefährten preisgab.
Aus diesem Grund schlug auch MARLON BRANDO zunächst die Hauptrolle des "Terry Malloy" aus, letztendlich konnte ihn aber Produzent SAM SPIEGEL doch noch dazu überreden.
Zu seinem großen Glück, denn diese Rolle brachte ihm nicht nur den Oscar für den besten Hauptdarsteller ein, sie war auch ein Grundstein für den "Mythos" MARLON BRANDO. Die Rollen des knallharten und ungeschliffen Arbeiter, des Rebellen der gegen den Strom schwimmt, sollten ihn künftig begleiten.
Bei "Die Faust im Nacken" kann aber nicht nur BRANDO beeindrucken und überzeugen, auch KARL MALDEN, als engagierter und unbequemer "Pater Berry", LEE J. COBB, als fieser Gewerkschaftsboss "Johnny Friendly", ROD STEIGER, als "Charley Malloy" und EVE MARIE SAINT, als "Edie Doyle", liefern grandiose Leistungen ab. Dadurch, dass alle entscheidenden Rollen mit überragenden Darstellern besetzt wurden, wirkt "Die Faust im Nacken" auch so glaubhaft und authentisch. Über allen thront aber MARLON BRANDO, der hier tatsächlich eine seiner besten Leistungen abliefert.
Der Film handelt vom Kampf der "kleinen Arbeiter" um Anerkennung und Gerechtigkeit, vom Wunsch dem Elend zu entkommen und dem Kampf um ein menschenwürdiges Dasein. "Die Faust im Nacken" ist ein sozialkritischer Film der die Ausbeutung der Arbeiterklasse und die sozialen Missstände des Amerika der 50er-Jahre anprangert. Aus heutiger Sicht finde ich den Film auch wieder interessant, denn momentan werden die Rechte der Arbeiter, die man sich über Jahrzehnte erarbeitet hat, wieder Schritt für Schritt und von der Öffentlichkeit wenig beachtet, beschnitten und zurückgefahren.
Mein Fazit: "Die Faust im Nacken" ist definitiv ein Klassiker, der ein wichtiges Thema anschneidet, das auch aus heutiger Sicht wieder brandaktuell wird. Die Darsteller sind alle überragend, dennoch thront über allen MARLON BRANDO, der einfach brillant und sehr facettenreich die Rolle des "Terry Malloy" verkörpert.
Wer auf alte Klassiker steht, der kommt hier voll auf seine Kosten, man muss aber diesen "nostalgischen Flair" unbedingt mögen, ansonsten wird das nichts"!
Meine Bewertung: 10 von 10 Punkten.
Reviewed in Italy on May 4, 2022