Tuesday, November 27, 2007

Literary Review: On the Waterfront

On the Waterfront Reels in the Audience

The film On the Waterfront was directed by Elia Kazan and released in 1954. The black and white scenes allow the audience to concentrate on the characters and their dilemmas, rather than the flashy and over the top movie effects used in today’s Hollywood. The plot is truly enjoyable and is enhanced by the special characteristics brought to the film by each actor. Excellent cinematography allows each scene to flow into the next and creates a cohesiveness throughout the film.
This film is set in an anonymous port city in the eastern United States during the early 1950s. Terry, the protagonist and a member of the long shore men, is faced with the dilemma of staying true to his union or following his conscience. The majority of the set pieces consist of actual buildings which allow the audience to feel that they are side-by-side with the characters, because they are so life-like. There is a fence that separates the city from the docks, which is a minor part of the set, but it distinguishes the two worlds that Terry lives in, his love life and work life. In addition, there is an extensive amount of symbolism set forth in this film. For instance, a shipment of boxes falls on and kills one of Terry’s fellow workers, Timothy Dugan, who was working in the hold of a ship. Dugan’s body is placed upon a stretcher in the dark deck and is slowly raised by a crane until it reaches the top deck that is filled with sunlight. The action of raising Dugan’s body from the ship could be seen as his soul being accepted into Heaven, or the resurrection of Christ. Elia Kazan’s point of view on Terry’s dilemma is that a person’s conscience is more important than the pressure of peers. He shows this by having Terry stand up to the boss, alone, while the long shore men watch. The other men were too afraid to stand up, even as a group. Though Terry broke the code of being deaf and dumb, which is refusing to talk or giving minimal information about a situation, he ultimately made the right choice. Together the setting, symbols, and point of view greatly enhanced the effect of the film.
The dramatic aspects allowed the film to be conveyed on a deeper level. Each of the actors did a wonderful job portraying their roles. Marlon Brando is a renowned actor and lives up to it in this film. His interpretation and creation of the character Terry allow the audience to perceive Terry as a believable character. He assumes the role of a bum, but in the end beats down this stereotype. From his slow physical movements, due to one to many knocks in the head from fighting, to his sluggish thoughts and speech, Brando hits the nail dead on.. A new actress to the film world, Eva Marie Saint, makes her debut in the role of Edie Doyle. Since she is a fresh face, the audience views her as a commoner who is easy to relate to. The pureness and innocence of her character is intensified by her blonde hair. Another well known actor is Lee J. Cobb who tackles the role of Johnny Friendly, the union boss. His presence and gruffness on screen make him seem intimidating and powerful. There is no mistaking that it’s either Friendly’s way or no way. The costuming in this film is minimal, yet extremely effective. There is a drastic difference between the shabby coats of the long shore men and the freshly pressed suits and overcoats worn by the union men. These subtle hints allows the audience to understand the large gap between these two classes of men. At times it was difficult to make out the exact lighting due to the black and white film, yet it was still outstanding when it needed to be. For instance, the dark haunting alley Terry and Edie run down while nearly being run over by a truck is sharply contrasted with the bright beam of light surrounding Charley’s dead hanging body. The dramatics aspects of this film support the strong roles each actor played.
It is evident that a great deal of time was spent on the cinematography of this film, due to the particular choices of camera shots and sounds throughout it. The scene where Dugan is about to be killed due to the falling boxes is a prime example of this. The low camera angle shot straight up at the swaying boxes hints at Dugan’s impending death. Also, this scene has multiple short clips switching between Dugan and the boxes, which create a sense of nervousness and anticipation within the audience. Another important camera angle was the high angle shot down on Father Barry as he spoke over Dugan’s body in the hold of the ship. The high angle came from the same level that the workers were standing on and produced a feeling of Father Barry’s lack of power against that of the union. In addition to the camera shots, the sound was extremely important in this film. For example, when Terry attempts to tell Edie of his role in her brother Joey’s death, a foghorn blares each time Terry speaks. The foghorn drowns out Terry’s words because Edie doesn’t want to believe that her lover could have done such a terrible thing. Together, these cinematic aspects perfect the fine details and create an outstanding film.
Though the protagonists of On the Waterfront and the novel “All My Sons,” by Arthur Miller, have differences between them, they also share several traits. The actions of Terry in On the Waterfront and Joe Keller from “All My Sons” hurt the people they love most in their lives. Terry doesn’t realize the impact of his role in Joey Doyle’s death will have on his relationship with Edie, who is obviously mortified that he could commit such a terrible crime. Joe Keller’s decision to ship the faulty aviation parts to the war effort was intended to keep the business running and provide a source of income for his family, regardless of who it hurt. However, because of his decision, one of his sons committed suicide and the other son highly disapproved of Joe. Both of these men made these decisions in order to keep up their reputation within their community. Terry wanted to continue to be accepted by the union and Joe wanted to carry on his business. However, a major difference between these two men was the way in which they handled the consequences of their choices. Terry confronted his problem directly, by standing up to the union boss. He could only think of one way to get his point across, which was to fight, although it may not have been the most effective means of doing so. On the other hand, Joe Keller became a coward and hid from his problem. He blamed the cracked cylinder heads on his business partner and denied his role in the scandal for years. In the end, he committed suicide because he could no longer deal with the accusations and the pain his actions had caused him. Even though there were multiple similarities between these two characters, there also had their differences.
This film is extremely appealing due to its intriguing plot, characters and cinematography. The main audience for this film is teenagers to adults. The plot and dilemma Terry faces are somewhat complex and the knowledge of these two things are needed to fully understand the film. Recognizing the symbolism is another major element that is needed to enhance the viewers perception of the film. It’s also important that the viewer understands the era that this film takes place in and the history of struggles between labor and organized crime. This film is intriguing due to the skills of the highly acclaimed film veterans involved with each aspect of it.

House Lights, Week 3, Post B

Dear Miss Beatrice Fisher-Hart,
I have taken pleasure in reading about your life, yet again. It is obvious that you have matured, even within the first one hundred pages. But I still think you are a bit naïve for being twenty years old. Do you really believe that just because your father is revered throughout the medical world that he could not have had any accusations against him? Maybe it’s because it’s too hard for you to accept that everyone makes mistakes, even your father. I think you should really listen to what your grandmother told you, “People are full of contradiction, of paradox. You are. I am” (69). You should understand that people are act or say things that could be against their true moral values; you should try to accept or at least understand this idea. Anyways, I can’t even fathom what conflicts could be running through your mind at this point! I would be utterly confused if my mom stood by my father and I had no contact with my grandmother because of it. I really commend you for attempting to gain a relationship with your grandmother, it helps to have an older, wiser person in your life who is able to see the broader picture. Also, I am wondering at what point did you, well rather the author, write this novel about yourself? I found it quite interesting that you mention that now you have a vantage point of twenty years later. You seem to be writing events as they happened, yet it’s still in the past tense. I am curious to see if you will reflect upon portions of your life, because earlier this year I read the novel “Black Boy” by Richard Wright, in which he reflected upon events throughout each chapter! I can’t wait to continue learning about your life!
Sincerely,
Rachel

House Lights, Week 3, Post A

VOCAB

Bunglingly (70) to perform clumsily

Shibboleth (80) a slogan

FIGURATIVE LANGUAGE

“It leaves room to consider that they wanted me to learn things without having to assume responsibility for telling me” (70). This is an example of irony because Beatrice uses the same action that she hates against her parents. She kept her communication with her grandmother secret, until her parents started to wonder where she was going.

“In my mind I’d unshackled her from myth, freed her to ride on top, hair hanging loose, flouting the social compact, her bare back rounding and bucking up under the dark eaves” (76). This is an example of imagery, because it appeals to the sense of sight. The description of Beatrice’s character allows the reader to imagine a real person because of these minute details.

“I could still feel his handshake, smooth and firm as sandalwood” (102). This is a simile, because it directly compares his handshake to the sandalwood. Also, this is imagery because the reader can imagine exactly how his handshake felt.


QUOTE

“Speak what we feel, not we ought to say” (69). This quote was said by Beatrice’s grandmother, but it was originally from Lear. This is totally relevant in today’s world, because people are afraid their peers will shun them if they say what they truly feel. A person should feel safe and secure when they express their feelings. Also, people shouldn’t say what they are told to, for the reason of “just because”, if they do not believe in it.

THEME

A theme in this novel is to find an activity you truly enjoy, because it can keep you out bad situations and help you heal. Beatrice finds her escape in the theatre and tries to immerse herself in it in every way possible. This escape allows her to heal easier from the death of a close friend, Silke.

Monday, November 19, 2007

House Lights, Week 2, Post B

Dear Miss Beatrice Fisher-Hart,
I have really enjoyed reading about the invents in your life up to this point, they are so interesting! Seeing your grandmother on a weekly basis must be a wonderful time for you, since you were deprived of her contact for so long. Do you think your mother was trying to protect you from your grandmother, or was she just trying to protect herself from the pain of not having her around as a mother? Also, the situation concerning your father’s sexual harassment accusations seem like they really bother you. I can’t imagine the emotions and questions running through your head about your father! He seems like such a good and honest man, but could he possibly be leading a double life? Is he really as compassionate and truthful as you have known and believe him to be? If I were you, I would really start to question his actions and my relationship with him. I also find it interesting that you seem to be living through your father and grandmother. I wonder if you are trying to fit in with people who are more prestigious and well known so you can feel accepted, because you don’t have any friends your age except Ezra. Every time you mention your father to someone you mention all of his accomplishments. And each time you speak with someone about your grandma you tell of her great prestige in the theatre world. Do you feel that the only way for you to live is for you to live through them? I hope not, because it’s truly sad if you don’t live your own life. I know this may seem a bit contradictory, but I am truly enjoying your life story!
Sincerely,
Rachel

House Lights, Week 2, Post A

VOCAB
ingénue (53)- an actress who plays an innocent girl or young woman

enigma (54)- a person of puzzling character

FIGURATIVE LANGUAGE
“I stirred the mixture on the stove; it spat at me” (47). Because the mixture is being characterized with the human characteristic of spitting, it is personification. The mixture isn’t alive so it can’t actually spit on Beatrice.

“She began to set pieces of chicken in the hot oil: a crescendo of fry noises” (52). This is imagery because it appeals to the sense of hearing. The detail given to the noise allows the reader to feel as though he is also listening to the sizzling of the chicken.

“Barely illuminated, the new small leaves on the trees shimmied like horses shaking out their manes” (58). This is an example of a simile because it compares two unlike things, the leaves waving on the trees to horses shaking their manes.

QUOTE
“I was a liar, too, long complicit by inaction, by keeping up their silence, our silence, our act” (62). Beatrice feels responsible for her parents’ actions, particularly her father’s. She feels guilty because she kept quiet and didn’t say anything about the complaints against her father. Also, she can’t figure out the reason for her inaction, whether it was out of fear of the truth, or fear of hurting her father.

THEME
A theme in this novel is that the surface characteristics of a person cannot explain the person’s true identity. Beatrice believes her father is a highly esteemed man, yet he is accused of five counts of sexual harassment.

Wednesday, November 14, 2007

House Lights, Week 1, Post A (figurative language change)

I just realized I forgot a couple of things in my figurative language section from my post last night...

“In late autumn, they littered the ground with their seedpods-fat, bristly brown balls” (3). The words “bristly brown balls” are an alliteration because they all begin with the same letter, B!

“…a big, almost baggy face, freckled like a banana; a laugh like tires going slowly over gravel” (27). This is a simile because it's using 'like' to compare two unlike things, freckles to bananas, and a laugh to tires going over gravel.

Tuesday, November 13, 2007

House Lights, Week 1, Post B

Dear Miss Beatrice Fisher-Hart,
I just began reading about your life in the novel “House Lights”! So far I am really enjoying the plot and I can’t wait to finish reading- it’s a real page turner! It’s hard for me to understand why your parents are so against the theatre world, because my family is really involved behind the scenes of productions! Theatre is also a bonding time with my family, because we see multiple shows together each year. Do you know why your parents are so against the theatre business? I think it might be because your mom holds a grudge against your grandmother for practically abandoning her as a child, while your grandmother pursued her theatre career, and quite frankly I would too. But I don’t understand why your father is so against it also, maybe it’s too support your mother’s feelings. Isn’t it hurtful to you that your parents don’t really support your aspirations to become an actress? It’s true they helped you to pursue your dream by letting you postpone college for a year, and encouraging you to follow your dreams since you were a young child, but isn’t it still painful? If I was in your place, I would also turn to my grandmother for support, because my grandmother is always willing to offer her advice and love to anyone. If I was in your place, I would find it really awkward to just go out to a café with my grandmother after only meeting her a few times! But I guess it’s what you needed to do in order to pursue your dreams. I am excited to read the rest of your story and I hope your problems get sorted out (and you become a famous actress!)
Sincerely,
Rachel

House Lights, Week 1, Post A

VOCAB

Mollify (4)- to soften in feeling or temper

Ecru (6)- light brown

FIGURATIVE LANGUAGE


“I loved these trees, with their mottled gray and yellow bark, their massive trunks and huge, spreading branches” (3). This is imagery because it appeals to the sense of sight with vivid details of the trees.

“In late autumn, they littered the ground with their seedpods-fat, bristly brown balls” (3). The words “bristly brown balls” is an alliteration because they all begin with the same letter, B!

“…a big, almost baggy face, freckled like a banana; a laugh like tires going slowly over gravel” (27).

QUOTE

“I had no point of orientation, no framework or instructions with which to approach the scene, and my life had not prepared me simply to be” (34). Beatrice is lost in her life, because she doesn’t know what she, herself thinks about situations anymore. Her thoughts are clouded and it is difficult for her to think quickly. Also, all of her life she has been focused on a distant thought or dream and hasn’t had the chance to truly live in the moment.

THEME

A theme emerging within the novel is that one should follow his dreams even though others may try to stop him. Beatrice’s parents don’t approve of her longing to be an actress and against their will she meets her grandmother, a famous actress past her glory days, from whom she learns many things.