On The Waterfront (1954) - 4K Ultra HD Blu-ray (Columbia Classics Vol. 5)

When it comes to On the Waterfront it’s a film that I have to work very hard to observe and appreciate on its own as a cinematic event without thinking of the implications. As most well know it’s a sordid story for Elia Kazan and his cooperation with HUAC. Because it’s such a beautiful film, amazingly well shot, featuring iconic performances from the entire cast, I try not to see this as Kazan’s means of explaining away why he named names. Focusing only on that aspect I feel takes away from the amazing story of a simple man just trying to do the right thing and always finding a way to screw it up. At any rate, you don’t need to read my ramblings, our own Mr. Krauss already did a terrific job reviewing the Criterion Blu-ray I’ll let his words stand pat:

The truly great films have it all - a meaningful story, resonating themes, incisive direction, powerful performances, a literate screenplay, superior cinematography, and a driving narrative force that grabs the attention of an audience and keeps it spellbound from the opening frames to the closing credits. Not many films possess all these elusive components, but 'On the Waterfront' does - in spades. Elia Kazan's gripping study of mob corruption along the docks of New York and one man's willingness to stand up against it is that rare cinematic jewel that's both blistering and tender, romantic and suspenseful, intelligent and entertaining. Featuring Marlon Brando's finest performance (and that includes Stanley Kowalski in 'A Streetcar Named Desire') and directed with artful realism and keen insight by Kazan, 'On the Waterfront,' almost six decades after it first premiered, remains one of Hollywood's most searing and riveting motion pictures. And this dynamite edition from Criterion gives this unforgettable movie the respect and attention it deserves. The year is still young, but it's impossible to imagine any other classic release eclipsing it.

'On the Waterfront' changed the face of movies with its emphasis on naturalistic photography and acting. Shot almost entirely on location in Hoboken, New Jersey and employing a number of actual longshoremen in bit parts and as extras, the film wears its grit on its sleeve, thrusting its viewers into a rough, lower class milieu among real people who perform back-breaking labor for a meager wage and cow-tow to greedy bosses who bully and exploit them on a daily basis. All the workers abide by the "D and D" (deaf and dumb) code, accepting the culture of corruption and refusing to rat out the powerful syndicate for fear of dire repercussions. Johnny Friendly (Lee J. Cobb) runs the outfit and he's anything but. Blustery and ruthless, he's all about the take, and when Joey Doyle decides to snitch, he sends errand boy Terry Malloy (Brando) to lure him out of hiding and to his death. The naive Terry is shocked by the swift retribution ("I thought you were just gonna rough him up a little"), but Joey's fate fits Terry's philosophy of life to a T: "Do it to him before he does it to you."

The horrible deed, however, awakens Terry's dormant conscience. A former boxer whose promising future was thwarted by the mob, Terry has since become a thug, languishing in Friendly's posse, his passions and sensitivity quashed by the macho environment and manipulations of his own brother, Charlie the Gent (Rod Steiger), Johnny's right-hand man. His only refuge is the rooftop pigeon coop he tended with Joey, an oasis of solitude in the urban jungle, where his nurturing nature can flourish. Yet when Joey's devastated sister Edie (Eva Marie Saint) convinces the local priest, Father Barry (Karl Malden), to infiltrate the fraternity and foster positive change, Terry's loyalty begins to waver. Two police investigators (Leif Erickson and Martin Balsam) also exert pressure on Terry to spill the specifics of Joey's demise, serving him with a subpoena to testify at a city hearing. Whether Terry will tow his party's line or turn against his crooked compatriots and redeem his guilty soul forms the crux of the drama, as does Terry's burgeoning romance with Edie, who knows nothing of his involvement in her brother's death.

Socially conscious without being self-conscious, and a film with a preacher that's not overtly preachy, 'On the Waterfront' defends the right to turn on and turn in one's peers if the informer believes it's morally correct. The story's central dilemma, intentionally or not, strikingly mirrors the quandary Kazan himself faced two years earlier when he notoriously (and unapologetically) decided to name names to the House Un-American Activities Committee during its rabid investigation into Communist infiltration in the U.S. Of course, Kazan's controversial and unpopular decision to betray former colleagues was seen as an act of cowardice and self-preservation, while Terry's choice is depicted as noble and courageous, but the crisis of conscience the two endured is similar, if coincidental. Though Kazan recognizes the parallels, which add fascinating subtext to the story, he denies the notion he made 'On the Waterfront' to justify and absolve his actions.

Such theories, however, only enhance the reputation of this exceptional motion picture, which seamlessly blends elements of film noir, westerns, and documentaries into its rich fabric of characters and situations. Screenwriter Budd Schulberg fashions dialogue that's lyrical, snappy, and endlessly quotable ("He doesn't need a doctor, he needs a priest"). Sure, there's Brando's iconic and impassioned "I coulda been a contender" speech, but there's also a rousing oration by Father Barry and heart-breakingly tender exchanges between Terry and Edie that evoke visceral responses. Furthermore, Schulberg's intensive research into the longshoreman culture yields a host of vivid characters whose attitudes and reactions never feel contrived. Nor does the obvious bird metaphor. It's no fluke Terry raises pigeons and may become a stool pigeon himself, but like the habitat of his ornithological friends, his soul is also caged, and he yearns to fly away from the waterfront's all-consuming grime and corruption and break free from its binding chains. Elegance and grace epitomize these birds, and the waifish Edie exudes the same qualities, which inspire Terry, who aches for affection, to pursue her.

The location settings brilliantly reflect the hopelessness and despair that engulf the characters, while Kazan's stark imagery lends impact to their respective passions. Boris Kaufman's natural cinematography creates a somber mood, as he flawlessly captures the gray skies, frigid winter cityscapes, dingy tenements, cramped back rooms, dusty warehouses, and dark alleyways that define the dockside environment. Then tack on the one and only film score from musical genius Leonard Bernstein, which combines screaming progressive jazz with the plaintive moans of a solo horn to produce an accompaniment that's as potent and explosive as the on-screen action.

Yet one single element of 'On the Waterfront' stands out above all the rest. Like a lit match in a gas-filled room, the superb performances ignite this film and raise it to a rarefied level. A gallery of acclaimed Method actors populate almost every frame, and five of them garnered Oscar nominations. Brando, of course, leads the list, filing a full-bodied portrayal that mixes street-wise toughness with a fragile delicacy that's beautiful to behold. After the unvarnished barbarism of 'Streetcar' three years before, it's immensely satisfying to see Brando embrace his softer side as he brings an endearing warmth and uneasy confidence to the tortured Terry. His scene in the taxicab with Steiger ("I coulda had class, I coulda been a contender, I coulda been somebody, instead of a bum, which is what I am") features some of the best work either actor ever did (and that's saying something), as two thespian heavy hitters go toe-to-toe and knock the proverbial ball out of the park. In a word, it's magic.

Brando also creates fantastic chemistry with Saint in her stunning film debut. Their deep longing and mutual need permeate their magnetic moments together, from the "improvised" glove scene in a park playground to their trepidatious personal discovery in the saloon to their passionate embrace in Edie's apartment. Saint's shyness and conviction instantly win us over, and her natural, unassuming style complements Brando's more meticulous craftsmanship. When Edie says, "But there's a look in his eye" with such tender perception, the line encapsulates Terry's character and the reading cements their relationship even before it really begins. Both actors justly earned Academy Awards for their mesmerizing work and for creating one of the most believable romances ever committed to celluloid.

As the angry, chain-smoking priest who's goaded out of inertia and transformed into a militant advocate for justice, Malden is also brilliant, and his standout portrayal nabbed an Oscar nomination. His impassioned "sermon" to the dock workers after one of their compadres is bumped off in a freak "accident" stirs the soul, and his mentoring of Terry strikes a realistic chord. The young Steiger wows us, too, and though Cobb growls like a lion and shamelessly chews the scenery (as well as his ever-present cigar), he's a brutal force of evil, always commanding our attention. Both men were also Oscar nominated, and if the Screen Actor's Guild was handing out awards in 1954, the cast of 'On the Waterfront' would have certainly won Best Ensemble. From the leads all the way down to the most insignificant extras, there's not a weak link in the bunch.

In all, 'On the Waterfront' received a dozen Academy Award nominations and won eight statuettes. In addition to Brando (Best Actor) and Saint (Best Supporting Actress), the film was honored with Best Picture, Best Director, Best Screenplay, Best Cinematography, Best Editing, and Best Art Direction-Set Decoration prizes. A forerunner of the kind of independent picture that would one day become Oscar's darling, 'On the Waterfront' used its low budget, stark locations, and blue collar actors to its advantage, weaving them all into a taut, thrilling, yet lyrical ode to personal evolution, maturation, unabashed courage, and unblemished love.

'On the Waterfront' is a bona fide masterpiece, the kind of film that moves and inspires without pretense or manipulation. It addresses important issues in an intelligent manner, and its simple, unaffected artistry, alternately bold and nuanced presentation, and finely etched portrayals heighten its palpable impact. Yielding new rewards and kernels of brilliance with each viewing, it's a film to experience and scrutinize over and over again.

Vital Disc Stats: The 4K Ultra HD Blu-ray 
On the Waterfront is a true contender in 2160p thanks to this amazing four-disc 4K UHD + Blu-ray release as part of Sony’s Columbia Classics 4K Ultra HD Collection Vol 5. In a particularly amazing move, Sony gives each of the alternate aspect ratios their own respective Region Free BD100 disc! The 1.33:1, 1.66:1, and the 1.85:1 transfers all have their own maxed-out 100 gig disc. Then we have a Region Free BD50 disc serving the 1080p with all the bonus features. NOTE: As of publishing, I was only able to successfully rip the 1.66:1 disc, we aim to return and offer more screenshots of the other aspect ratios and possible video sample shortly. 

Kudos to Sony for going all in for On the Waterfront. One of the greatest pieces of Criterion’s 2013 discs was the inclusion of all aspect ratios and that’s been continued here. Best of all because Sony gave each aspect ratio its own disc, the bitrate flies high for a gorgeous 2160p Dolby Vision black and white transfer no matter if you’re watching in 1.33:1, 1.66:1, or 1.85:1. Since there’s no real right or wrong way to view the film since all aspect ratios were offered to theaters, it comes down to personal proclivities. I generally side for the 1.66:1 over the others, I like its pragmatic middle-ground of being not too close but not too far away from our various subjects. There’s certainly merit for watching it in all aspect ratios so I’m happy to have the option!

For each edition, details are quite stunning offering a notable visual uptick from Criterion’s already impressive Blu-ray disc from eleven years ago. Free of any kind of compression artifacts, each aspect ratio is essentially flawlessly recreated. Facial features, clothing textures, gritty grungy docks, and back alleys are on full display. With Dolby Vision HDR, the film’s grayscale is impeccably captured allowing for true crisp brilliant whites, deep dark inky shadows, and the gradients between to really come to life. I was particularly struck by the image depth and the sense of three-dimensional staging for some key sequences. Front to back, with all aspect ratios, this is a flawless demo-worthy transfer for a truly classic piece of filmmaking.

In keeping with Sony’s output for the rest of this box set, On the Waterfront scores in with three options, DTS-HD MA 5.1 which plays virtually identically to the Criterion disc, a restored DTS-HD MA 2.0 mono track, and a new Dolby Atmos mix. Overall you really can’t go wrong with any of these, but I do have a preference. The new Atmos mix is very good, very active, and engaging for much of the film, but it also doesn’t feel fully necessary. While there are some inventive uses for the overhead channels and the extra spacing between channels can be quite lively and engaging, I don’t feel the experience was much of a benefit so much as just another way to see the film. Likewise, the 5.1 track is very good, it does its job and if that’s how you want to see the film, you can and it won’t be a bad experience. But I was really most struck by the mono mix. Similar to how I felt for A Man for All Seasons the bigger more expansive tracks certainly work, but the mono feels more personal and intimate. To be blunt, it feels more honest and true to the story. For all the times I’ve watched this film in 25-ish years, I’ve never felt like I was missing something with the film in mono. The 5.1 and Atmos are solid options, but they don’t make this already amazing film any better. So take that for what its worth.

As has been something of a theme for the films Tootsie and The Age of Innocence previously released by Criterion on Blu-ray, Sony is giving fans a lot of great extras, but not quite the whole package. Now in this instance for On the Waterfront, we’re getting most of the extras delivering most of two hours of additional content on top of the audio commentary. Now, without any insider info, just speculation, my figure is when these films go solo 4K, they’ll roll like Punch Drunk Love and The Last Picture Show and will return to the generous cinematic bosom of Criterion and we’ll then get ALL of those missing extras. 

• Audio Commentary featuring Richard Schickel and Jeff Young
• Martin Scorsese & Kent Jones 
• Contender: Mastering the Method
• Interview with Director Elia Kazan
• Budd Schulberg: A Righteous Indignation
• Boris Kaufman: A Vision Beyond Borders
• Eva Marie Saint Interview 
• Thomas Hanley Interview 
• On the Aspect Ratio 
• Photo Gallery 
• Theatrical Trailer 

On the Waterfront is many things. It’s one of the best written, acted, and directed masterpieces of any era. It’s also a very complicated film largely because of the personal actions of director Elia Kazan. While it’s a monumental accomplishment, the film will always have a historical context asterisk attached that may sway the emotional resonance of the audience. On 4K, Sony delivers one of the best disc releases of the year delivering the film to 4K UHD with demo-worthy Dolby Vision transfers for all aspect ratio options - on their own individual discs ensuring maximized bitrate potential. Throw in three audio options and a healthy assortment of extras, this set is the Must Own piece of Columbia Classics 4K Ultra HD Collection Vol. 5.