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Author Topic: On the Waterfront (1954)  (Read 4381 times)
drinkanddestroy
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« Reply #15 on: March 14, 2014, 01:02:56 PM »

You haven't seen ON THE WATERFRONT?
You're a fucking idiot.
Why do I even talk to you?





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dave jenkins
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« Reply #16 on: March 14, 2014, 01:35:09 PM »

Hey, I haven't seen it either. You can stop talking to me too.

OK, all this chat has piqued my interest. I might pull the Criterion BD this weekend and give it a look. But Drink, there's a choice of aspect ratios! Should I go with 1.33 or 1.66? I don't want my first viewing of the film to be in the wrong aspect ratio! Drink, which one should I choose? Don't tell me it doesn't matter--it does! Don't tell me to flip a coin--I won't. Don't tell me to do some research--the matter is vexed. I want YOU to tell me which one to watch, and I want your answer to be ETERNALLY VALID. And I need your decision yesterday. Evil

« Last Edit: March 14, 2014, 01:41:41 PM by dave jenkins » Logged


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drinkanddestroy
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« Reply #17 on: March 14, 2014, 04:37:36 PM »

I watched it in whatever aspect ratio TCM showed it in Wink

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« Reply #18 on: March 14, 2014, 04:59:40 PM »

You haven't seen ON THE WATERFRONT?
You're a fucking idiot.
Why do I even talk to you?


I don't want to watch Brando peeing the whole movie!

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« Reply #19 on: March 15, 2014, 08:22:51 AM »

Apart from the taxi scene, the dock scenes, the rooftops scenes and the filming around Hoboken, the scene I remember most was where Brando picks up the glove the girl had accidentally dropped, brushes off the dirt and wears it. At the time I thought it was quite romantic and intimate.  Having seen it subsequently it doesn't have the same impact.

http://www.youtube.com/watch?v=dHtJUWO7yeA

  

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dave jenkins
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« Reply #20 on: March 15, 2014, 12:14:04 PM »

I think it was a Brando improv that Kazan left in that everybody at the time thought was pretty cool. I watched that scene last night (in 1.66) and found it kinda blah.

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drinkanddestroy
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« Reply #21 on: March 16, 2014, 02:16:02 AM »

That taxi scene is so famous for Brando's lines, but what I really LOVED about that scene when I first saw the movie was Steiger's performance. He knows he is in a bind, and it comes down to screwing himself or screwing his brother, and at one point he is about to say something, and he is about to start talking, then he hesitates... Then again, starts and hesitates.... Then again..... I thought that moment was just unbelievably incredibly amazingly acted......
Steiger, Malden, and Cobb were each nominated for Best Supporting Actor, and the winner was..... Edmond O'Brien in THE BAREFOOT CONTESSA. I actually just watched TBC very recently for the first time (on TCM - the print had this weird red tinge on (at least part of the image) ) O'Brien really does give a terrific performance, his character is hilarious. (I give TBC a 7.5/10).
So, who do y'all think deserved Best Supporting Actor that year?

« Last Edit: September 24, 2014, 12:04:40 AM by drinkanddestroy » Logged

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« Reply #22 on: March 16, 2014, 05:33:22 AM »

I mostly like Steiger, but he often overdid the method acting. Not sure if I liked him in OtW. I remember that he had too much of these theatre dialogues.

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« Reply #23 on: September 24, 2014, 12:11:57 AM »

Having just read Schickel's book on Kazan, I've gotten re-interested in seeing some of his movies; considering the insane number of bonus features Criterion packed in there, I may buy it.

I wasn't aware of any debate about aspect ratios (which DJ discussed earlier) until I just looked at Beaver's OTW page.

So, wadday'all about it? Is there any place where Kazan has indicated his preference? Obviously with films made in '53-'54 there are these debates over aspect ratios; the filmmakers probably knew these would be shown in both widescreen (in theaters that had been outfitted with new technology) and in 4:3 in theaters that hadn't.

What I don't understand is why 1.66:1? I was under the impression that 1.66:1 is really a European AR; the American widescreen movies were generally 1.85:1 for the flat widescreen movies, or 2.35:1 for the anamorphic ones. Weren't those early American widescreen movies intended to be shown, if in widescreen, in 1.85:1? Why is 1.66:1 an option for an American movie (indeed, it seems to be THE option with Criterion; the 1.66;1 version is on Disc 1 of the boxset, with the commentaries; the 1.33:1 and 1.85;1 versions are on Disc 2 with no commentaries.

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