Father Barry: “There’s one thing we have in this country, and that’s ways of fighting
back.
How does ‘On the Waterfront’ explore the power of the individual?
The 1954 film, On the Waterfront attempts to demonstrate that ones potential to fight
back is often limited by oppression and heavy handed ways. The genesis of the film
comes from Malcolm Johnson’s (1949) investigative articles which documented the
extensive corruption on the New York Docks. Director Elia Kazan, uses the narrative of
the Hoboken docks as a vehicle for his message; in which the individual, as represented
by protagonist Terry Malloy, can fight back and bring change for the collective good, but
requires assistance, as evidenced by the influences of Edie Doyle and Father Barry.
Kazan sets up a restrictive, bleak Hoboken, in order to convey how corruption can control
and limit access to individual freedoms. Kaufmann’s grainy, black and white filming
makes the docks seem grimy and unappealing, a potential metaphor for the life of the
longshoremen. In a similar fashion, the neighbouring Manhattan skyline is covered in
fog suggesting that there is a barrier to success and fortune. As the members of the local
‘374’ sit in Friendly’s bar, they seem unaffected by their role in the murder of “lousy
cheese eater” Joey Doyle, emphasising the predatory nature of the docks. Furthermore, it
is the pervading “D & D” which undermines all potential for the individual to become
empowered. The residents knowingly deprive themselves of their democratic rights, as
the need for survival in a place that “ain’t part of America” overrides. Despite the efforts
of Mrs Collins, she too is told to “shut up” by fellow longshoremen, as her willingness to
speak of the “same things [which] happened to [her] son Andy” threatens her survival in
a place where answering “no questions” is paramount.
Father Barry attempts to enlighten the longshoremen and encourage the men to act within
their rights; however for the most part, this falls on deaf ears. Attempting to motivate the
men, Barry compares silence with propagating murder, and asks how the men can
continue to call themselves “Christian”, although to his dismay; bowed heads and averted
gazes suggest that Father Barry’s influence may not be enough to change the “d & d”
mentality. Even Joey Doyle’s best friend, Jimmy Collins remains silent amidst Father
Barry’s pleas, showing the perverted loyalties among the longshoremen. This desire to
inspire change is once more seen in the hold of the ship, in which Father Barry holds true
to his promise to “walk with” Kayo Dugan “every step of the way” and once more,
speaks to the longshoremen. The low camera angle perpetuates Father Barry’s brooding
influence, serving to reinforce his declaration that the docks are “[his] church”. Whilst
emphasising that “anybody that sits around and lets [murder] happen” is condoning the
“crucifixion” of his fellow man, close ups of Terry Malloy suggest that the message
resonates with him in particular, and consequently this allegiance to the cause is
embodied with Malloy punching union “cowboy” Tillio.
It is not only Father Barry’s words that instigate change, as Edie Doyle also has a
profound effect on the community. It is her brash declaration to “find who killed [her]
brother” that initiates action, more specifically, she her chastising of Father Barry, for his
complacency in being “a saint hiding in [the] church” causes him to rethink his role
within the community and ability to fight back. In Kazan’s production notes, Edie is said
to be the “conscience holder” of the film as it is her philosophy that “everybody [should]
care about everybody else” that provokes change within the ambivalent Terry Malloy.
Malloy, representing the misguided collective, tells Edie to “quit worryin’ about the truth
all the time” and it her criticism that he is still a [bum] and needs to do “much, much
more” that plays a integral role in his action.
Ultimately, Terry demonstrates the power of the individual as he is able to gain the
support of the longshoremen in his quest for the truth and fight for “[his] rights”. Despite
having made it “possible for honest men to work the docks” in court, Malloy is initially
ostracised as he stands alone on the docks whilst fellow longshoremen cluster is groups
avoiding contact. Even as Malloy walks down to the union shack, the longshoremen
move in a pack, alluding to their continued conformity. However the use of Leonard
Bernstein’s triumphant and invigorating track coincides with the emergence of support
from the men, as they ask “about Terry” and his ability to work. Malloy’s final walk
against corruption shows the men standing alongside him. With blood dripping from his
forehead somewhat like Christ’s crown of thorns; it also appears that the men are his
disciples, supporting his fight for justice. Thus, Kazan encapsulates the power of the
individual with Terry and his ability to persuade the reluctant longshoreman.
Consequently, the power of the individual is conveyed through multiple aspects of “On
the Waterfront”. Kazan orchestrates a grim, poverty stricken Hoboken to emphasise the
power of Terry Malloy in his rejection of the ingrained “d & d” code. However, the film
also shows, the little can be achieved without assistance, as Father Barry as well as Edie
Doyle play a substantial part in motivating Terry and as a result, the longshoremen, to
fight back.