Film Techniques Directing is invisible (avoids flashy camera work, extreme angles, intense close-ups and overt camera movements). Often actors appear in two-shot (two people at midrange) or in wider shots to show the arrangements of characters. Positioning of characters shows power dynamics. There is suggestive framing – Father Barry hoisted out of the hold with Dugan’s body. Malloy’s confession to Edie: Viewer doesn’t hear all of the crucial conversation. Ship’s whistle is overpowering. It suggests depth of feeling, frenzy and confused emotions Feelings are more important than the words Scenes like this are rare in the movie world. Film techniques Use a lot of physical touch – emphasises the crowded environment and affirms intimacy of all the relationships. Images of the waterfront – all actions – Terry’s confession does not occur in church – outside Mise-en-scene – the physical environment in which the film takes place is not a set. Kazan achieves authenticity and grit Film Techniques The goons are not actors – they are actual former heavy weight boxers Longshoremen – many are actual workers The background sounds on the docks – add to realistic environment ALL ADD TO HEIGHTEN THE REALITY AND DEPTH OF CHARACTERS’ STRUGGLES AND EMOTIONS Film Techniques Filmed during New York’s coldest winters The steamy hot air seeping up through the sewers or steam being released on the docks creates a misty visual atmosphere – suggests moral ambiguity of every character. There was only one scene not shot on location – taxi scene Not much makeup or elaborate costuming used. The changes in costuming – key indicators of shifting emotion or suggested eroticism. Acting Brando – Inarticulate, his movements reveal his struggle – chews gum, shrugs, lags behind, pulls his collar up and stuffs his hands in his pockets – Nervous, evasive gestures. Henchmen – stand strong in twos and threes. Solid hats and long overcoats. Henchmen make eye contact – Malloy frequently looks away. Improvisation – ‘white glove’ scene Taxi scene – choice of unconventional reactions Black and White Deliberate Placed itself in movie world as different from technicolour of the time. Realistic, documentary style Location Script relies on real life conversations with longshoremen Gives film social realism Not a film about escapism – complements dark issues. Daytime is gritty and cruel. Music Leonard Bernstein’s score – music of opening scene mirrors the harsh reality of the New York waterfront in winter and the lives of those who reside in the community. Lighting Documentary style Frontal lighting – just projected at performers – the effect is flat, cold, not sympathetic Darkness represents evil Grey shadows – overpowering, ominous Big ships overshadow small ships Edie – light Ending – not clear Motifs Definition: Recurring structures, contrasts or Literacy devices than can help to develop and inform the texts major themes. The rooftop as a retreat from the world. Crucifixion dialogue / images “D ‘n D” (work machines without identities) Coats Motif - Coats Long coats set aside with short coats Crime investigators and long coats (ruthless – have a job to do – don’t care about individuals) - air of mystery, can’t be trusted, similar to mob, prepared to sacrifice lives to get results Father Barry’s coat has to be dirtied before he is trusted Joey’s jacket is offered as a precious gift - shared hardship- shared friendship - mantle of truth holder is passed on with it – dons the skin of a martyr. Intimate to wear someone else’s jacket Terry’s jacket – checkerboard pattern – childlike – he is able to stand out Change in costume – key indicators of shifting emotion or suggested eroticism. Longshoremen’s clothes – worn out – vulnerable Edie’s coat – feminine – has it on for protection in many scenes – shows innocence and discomfort at times Mob coats – comfortable, don’t have to do physical work, shows wealth, mystery, superiority Symbols Definition: Objects, characters, figures or colours used to represent abstract ideas or concepts. Hudson River – (a border, edge they will never cross). Manhattan – Empire State Building – unattainable Pigeons – cooped up in cages – fragile. Natural impulse is to fly but are trained not to. (perfectly symbolise Terry Malloy – tough but has an affinity with birds. Hawks – The corrupt union – the mob Symbols Hooks – Hang over shoulders menacingly. Represent the forces that literally hang over them (Friendly’s goons). Gloves – (appear twice) Indicate a shift in the dynamics of the scene – exposing a new layer of a character’s anxiety, sexuality, vulnerability. 1. Park scene 2. Charley in the taxi scene (suggest he is bound to face something uncomfortable (one naked hand suggests vulnerability) Symbols Cyclone fences / Spikes – caged . Terry has allowed Friendly and Charley to take over his life – like he is half alive. Does not have free will When Terry decides to testify, we see blue skies – he has freedom and is able to fly Fence at church isolate mob from religion Edie on one side representing purity Father Barry on the hill – self-righteous – realises he may have done something wrong. Daytime scenes – smoke and mist used to create doubt. Suggest claustrophobic world they live in compared to the crispness of the night. Joey falls through lines of clothing – very public Non descript street appears as a narrow tunnel with no escape for Terry and Edie – classic film noir – to create a sense of the world closing in. Nature Usually uncontrollable –uncivilised Wedding scene – dancing through vines and ferns – like jungle People animalistic – Terry rescues her Gorilla-like gangsters appear city full of hawks ‘do it to him before he does it to you’ Johnny Friendly becomes animalistic in the courtroom Kazan believes in social control – not advocating violence or resistance to control issues – technique is to divide and conquer. Violence is only possible as a last resort Murder Scenes Low and gloomy places Joey Dugan Charley Terry – tried to kill him low down, near the water’s edge. Final Scene – Open to the skies Opening Scene Sad looking shed amongst the enormous ships and wharves. – makes us think how important these people really are. Often Terry is seen as separate from the gang – see as he departs from the shed in the opening scene. Christian Undertones Father Barry – John the Baptist figure Terry – Christ figure Charley and Terry – Cain and Abel Terry in the church Terry’s cut hand – stigmata –sacrificed like Jesus Opening scene – small boat with crucifix – religion is on the side of the workers – in contrast to the power of the ship owners Terry Molloy Shunned by dock workers Hangs out with kids Lifestyle is modest but at the same time he is cushioned by the mob. Without Edie’s influence, he most likely would have remained the same. She stays to solve her brother’s murder and is attracted to someone who is implicated in the death. The Place of Women in this World No place The woman talking to the policeman is shut out – Pop Doyle considers her actions a betrayal. There is a woman in Friendly’s bar but it is like she doesn’t exist – faceless Mr Big’s wife is oblivious to what’s happening Classic romantic genre – good woman makes a better man – on the path to redemption By her connection with Terry, Edie becomes weaker and weaker When Terry breaks into her apartment – her independence is sucked out of her Central to civilisation and culture Father Barry Edie’s words to Father Barry have struck home There is a sense that he wants to be a saint – he is bossy and authoritative. It’s as much about his status as an inspirational leader as he is interested in the plight of the longshoremen Shots of Father Barry – reinforce his view of the world High angle shot – Dugan’s death – physically vulnerable but morally powerful Curious sadism is at play in the final scene – ‘Johnny Friendly’s paying odds that you won’t get up.’ The Ending Far from triumphant Ship owner – power has not shifted to longshoremen Terry – blur – impossible to see the way forward – far from clear Edie and Father Barry smile Key Scenes Edie goes to the chicken coop The Wedding The discovery of Charley and Terry’s arrival in the bar.