dir: Elia Kazan
It’s a bloody shame that possessing too much knowledge makes it impossible to just talk about a great film and call it a great film. Either that, or you can put it down to arrogance, pretentiousness, or affected hipsterism. Whichever and whatever combination thereof that I’m afflicted with, I’m too aware of the history behind this picture to be able to blithely review it like it’s just any film.
Sure, it’s a film like any other. Although, it won a bunch of Academy awards, and it contains one of the greatest performances by Marlon Brando that you’ll ever see. And it casts a mournful eye over the waterfront upon which it is set, and the cowardice, greed and cruelty that conspires to render good men either dead or useless at the hands of a corrupt union.
And it’s directed by a man who made some great films, like this, Streetcar Named Desire, A Face in the Crowd, Splendor in the Grass, and Gentleman’s Agreement; films which I’m sure all the kids of today are big fans of and love to hear quoted in the latest emo and rap songs illegally downloaded onto their iPods.
But Elia Kazan also named names during the Communist witch hunt era, lending credibility and legitimacy to a process that should never have possessed a skerrick of either, and continued to work and live a happy, productive life after condemning others to blacklisting and misery.
For a man who received plenty of awards during his life, perhaps it might strike some as strange that he required honouring at the 2003 Oscars with a lifetime achievement award, where many of the crowd refused to applaud or even stand for him. Talented director, traitorous fiend, or both?