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I don't like 'On the Waterfront' at all. I think it overblown and
melodramatic and extremely 'Method' indulgent. So I fail to see the
obsession.

A much more interesting film is  the later 'The Hustler'(1961) which
kinda rounds off the HUAC stuff and embraces a sort of nihilism.  I
think it's truer both of the writer/director , Robert Rossen, and the
times than Waterfront's pretensions. (I also think Piper Laurie's
perfomance/role is one of the great acting offerings in film drama.)

There's' a brutal tragedy at the heart of 'The Hustler'  (Rosen's for
one) that 'Waterfront' tries to side step or dim by dint of rhetoric.
Afterall, I think, 'Waterfront' self asserts the good life of good
people doing good deeds when 'The Hustler' stays in struggling
reality.

If you want a handle on the period of the fifties I reckon the Film
Noir stuff is much more reflective of the real world than a lot of the
other films. Esp the B grade noir.

 Seriously folks -- when you get to 'East of Eden' -- his next film --
you have to wonder what planet Kazan was on. And if Kazan wasn't
HUAC'ed who'd bother? Thats' it's marketing niche, right?

Kazan gave the American people melodrama to suit the fifties backlash.

Cross the Atlantic and instead you get burgeoning 'kitchen sink' stuff
and the core dialogue in say, Osborne's 'Look Back in Anger' is at the
heart of that fifties angst.

<CLIP>"There aren't any good, brave causes left. If the big bang does
come, and we all get killed off, it won't be in aid of the
old-fashioned grand design. It'll just be for the Brave
New-nothing-very-much-thank-you. About as pointless and inglorious as
stepping in front of a bus. "</CLIP>

'This Sporting Life' , 'Saturday Night and Sunday Morning', 'A Taste
of Honey' , 'The Loneliness of a Long Distance Runner'...

Even 'Sweet Smell of Success'  (1957)-- classic US noir -- is much
better at its business of judging capitalism than 'On the Waterfront'.

dave riley
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