“How does the director communicate to the film’s audience that Terry is transformed into a “somebody” by the end
of the film?”
Paragraph 1: Terry standing up to the longshoremen who abuse Father Barry during his “crucifixion speech”.
Paragraph 2: Terry not doing what he is told and feeling a sense of entitlement in the cab scene with Charley.
Paragraph 3: Terry finally standing up and overthrowing Friendly and gaining the respect of the longshoremen.
Paragraph 4: Kazan’s film techniques that are used to demonstrate his transformation.
Elia Kazan’s On the Waterfront follows Terry Malloy and tracks his transformation from a state of submissive
obedience of Johnny Friendly’s oppressive rule to a courageous defiance of the waterfront’s status quo. This transition
throughout the film shows the path that he takes in becoming, what he perceives to be, a “somebody”. Terry’s outrage
at the longshoremen who abuse Father Barry during his lengthy sermon following the death of Kayo Dugan,
demonstrates that he realizes that something needs to be done regarding the corruption on the waterfront and marks
the point where testifying and speaking out against the mob becomes a real consideration for him. The exchange
between the Malloy brothers in the cab scene also establishes his ongoing transformation as, contrary to his attitude at
the beginning of the film, Terry neither accepts Charley’s orders nor quails in the face of his threats. He also shows a
sense of entitlement in that he feels he deserves Charley’s support in the matter. Terry’s final act of defiance towards
Johnny Friendly, that enfeebles him and overthrows his rule on the waterfront, displays the result of his transformation
as Terry stands up for his morals and virtues, whilst gaining the respect of the longshoremen. Lastly, Kazan employs
several film techniques that are used to indirectly demonstrate Terry’s ongoing transformation throughout the text.
Terry’s anger directed at the longshoremen, who abuse Father Barry during his speech regarding Dugan’s
“crucifixion”, marks the beginning in his path to testifying and standing up to the corruption occurring on the
waterfront. During Father Barry’s speech, Kazan manipulates the scene so that a close up shot of Terry is shown in
order to highlight his trepidation upon realizing the situation that he has become embroiled in. At this point, Terry
understands the seriousness of the crimes occurring on the waterfront and accepts that they cannot go on. This is
evidenced by his reaction to the other longshoremen attempting to shout Father Barry down and abusing him by
throwing objects. When he sees this happening, Terry fights one of the mobsters, demonstrating his defiance of
Friendly’s gang. Although Terry is unwilling to testify, this scene is where he first begins to acknowledge the power
that the mob holds over the waterfront and how problematic this is.
Terry’s reaction to Charley in Kazan’s famous cab scene also sheds light onto his mentality towards Friendly’s gang
and his personal growth. Accepted by Terry and the waterfront’s community in general as a man of superior intellect,
Charley is accustomed to holding power and influence over his brother. This is particularly evident at the beginning of
the film where Terry lures Joey Doyle onto the roof to his death by Charley’s advice, who withholds the truth from
him. Charley also makes many decisions pertaining to Terry’s lifestyle, as shown in his decision to “[go] for the price
on Wilson”, costing him his “title shot” and leaving him with “a couple of bucks and a one-way ticket to
Palookaville”. This time however, Terry overcomes Charley’s dominating nature and tells him that “[he] ain’t made
up [his] mind yet” despite his brother’s attempts to pressure him. After Charley threatens him with the pistol, Terry
displays his newfound sense of entitlement, claiming that “it was [Charley]” who cost him his career as a boxer and
that he “should’ve looked out for me”. Despite his self-deprecating description of himself as a “bum”, Terry’s refusal
to succumb to Charley’s coercion and his heartfelt speech about his life signifies his courage and determination to
defy Friendly.
The final scene of Kazan’s On the Waterfront, where Terry defies Friendly and overthrows the mob’s rule over the
docks, marks the final stage in his transformation as a hero. Although Terry’s testimony is courageous in itself, he
cannot be considered a “somebody” until his confrontation with Johnny outside the gang’s hideout. After being denied
work at the wharves, Terry seeks out Friendly and calls him out before being mercilessly beaten by the mob. Moved
by his bravery, the longshoremen collectively show their support, threatening that “if he don’t work, we don’t work”.
Even Pop Doyle, who had previously submitted to Friendly’s oppressive nature, knocks Johnny into the water in a
final act of insubordination. Due to Terry’s ability to rally the longshoremen together like so, Johnny’s rule over the
docks is overthrown and the mob violence that plagues the waterfront disappears as a result. In this respect, Terry is a
hero as he unites the longshoremen against Friendly and provides salvation from the exploitation and coercion that is
so prevalent on the waterfront.
Throughout On the Waterfront, Elia Kazan employs various film techniques to demonstrate Terry’s transition into a
“somebody”. At the beginning of the film when the mob emerges from Friendly’s hideout, Terry clutches his chest to
keep Joey Doyle’s birds inside his coat. While this serves a practical purpose in the film’s plot, Terry’s posture makes
him appear wounded as if he is nursing an injury. Through Terry’s submissive and weakened posture among the mob
members, Kazan demonstrates his low self worth and perception of himself as a “bum”. This is in stark contrast to the
later moments of the film, during Terry’s confrontation with Friendly down at the docks, where he stands proudly and
claims that he is “glad what [he] did today”. Through this dramatic change in Terry’s demeanour, Kazan creates the
impression that he undergoes a transformation throughout the film to become a “somebody”. In the final scene of the
film, Terry is also wearing Joey Doyle’s newer coat that was given to him by Edie, further reinforcing the idea that he
has finished his transition.
In his film, On the Waterfront, Elia Kazan tracks Terry Malloy’s transition from a state of compliant subservience to
one of courage and defiance. Terry’s defence of Father Barry from the abuse of the longshoremen marks his
realization of the problematic corruption plaguing the waterfront. His newfound confidence and ability to discern what
is right is demonstrated with his conversation with Charley, where he reveals his sense of self-worth and does not
submit to his brother’s threats. Furthermore, Terry’s final act of rebellion against Friendly dissipates the mob violence
and corruption of the waterfront through the unity of the longshoremen. This remarkable salvation of the waterfront
marks the end of Terry’s development and signifies that he has become a true hero. Lastly, Kazan utilizes Terry’s
appearance on-screen through the use of film techniques to track his personal transformation into a “somebody”.