On the Waterfront is one of the classics of cinematography set in the early 1950s, directed by Elia Kazan in which he demonstrates that it is crucial for an individual to be morally right than to give in to group expectations. It is a story of Terry Malloy and his complex and extraordinary changes he undergoes in the brutal and corrupt environment of Hoboken to become conscientiously right. Clearly, his transformation is driven by his growing conscience to rectify for his involvement in Joey Doyle’s murder and his obligation to be a good citizen, but could have no hope in doing so without the help of Father Barry, Edie Doyle and the sacrificial deaths of Kayo Dugan and Charley Malloy.
In his film On the Waterfront, Kazan demonstrates that the desperate search to set conscience free can arise from the need to overcome agonising guilt. Terry’s transformation throughout the film is stemmed from his moral awakening due to the betrayal he feels from Johnny Friendly and his goons. Initially, he is determined to disregard his conscience yet as a result of the guilt & restlessness he feels in regards to his involvement in Joey’s murder, his conscience becomes distinguished. He begins to question himself and where his loyalty belongs. Later he admits ‘’It started out as a favour.. A favour, who am I kiddin’, it’s do it or else’’, it is here where Kazan conveys Terry as a vulnerable & sensitive character as his conscience begins to overpower his ‘tough guy’ act. Kazan’s use of fog repeatedly highlights the uncertainty in Terry’s conscience, which reflects he is only just starting to initiate recognition to his morals that lead to his decision to testify against Johnny Friendly.
On the Waterfront is clearly a morality tale about the courage one man finds within himself to stand up against corruption. Throughout the film, the audience is faced with Terry’s moral dilemma and emotional battle, that forces them to think about their own beliefs...