Читать книгу Movie Bliss: A Hopeless Romantic Seeks Movies to Love - Heidi Rice - Страница 13

Directed by Elia Kazan

Starring:

Marlon Brando as Terry Malloy

Eva Marie Saint as Edie Doyle

Karl Malden as Father Barry

Lee J. Cobb as Johnny Friendly

Rod Steiger as Charley Malloy

A now-little-seen black-and-white social drama, Elia Kazan and Budd Schulberg’s tale of labour relations on the New Jersey docks circa 1954 is not a romance, but it has at its centre a love story that is so real and so beautifully evoked in only a few scenes it‚s bound to tear at your heart. Plus it’s performed by surely the greatest film actor of all time in his prime (long before he became the size of a small semi-detached house) and an actress who is not only luminously lovely but also sadly underrated IMHO. The chemistry between them in this movie is raw and provocative and poignant and so powerful that their love story is as fresh and real now as it was over half a century ago. And those are just a few reasons why it is my favourite film of all time.

Now, as it happens, it’s the love story in this movie that resonates so beautifully for me, so I’m going to dwell on that and not the rest of the movie—although that’s pretty spectacular, too. Anyone ever heard of Brando’s ‘I coulda been a contenda’ speech? That comes from this multi-Oscar-winner.

So let’s do a quick plot recap. The setting is the New Jersey docks in the 1950s, where the longshoremen’s union is controlled by corrupt thug Johnny Friendly and his right-hand man, Charlie the Gent. Charlie’s younger brother Terry (a thirty-something has-been ex-boxer) has been inadvertently involved in the killing of Joey, one of the longshoremen who was threatening to ‘squeal’ to the crime commission. Terry feels bad about it, but that’s life on the docks. He’s not about to rat out his brother. Until he meets Joey’s distraught sister Edie….

The drama that follows is about Terry’s battle with his conscience, and the harsh life of America’s dockworkers…. It’s social realism through and through, with a cast full of brilliant method actors, a wonderfully understated script by Budd Schulberg, and haunting black-and-white photography. But it’s the developing relationship between Edie and Terry that drives the story and is the heart and soul of the whole movie.

Take their first meeting, when the rough and inarticulate Terry tugs on Edie’s glove and sits on a kids’ swing while chatting to her with offhand bravado about his miserable childhood—Edie responds with quiet class and what Terry sees as a kooky naiveté. But Edie’s attitude isn’t really naiveté at all— it’s the simple belief that if people are loved they can rise above their circumstances….

Cut to the scene in a dingy neighbourhood bar where Terry (not knowing what to do with a nice girl) takes Edie on a sort of date and proceeds to ply her with drink:

Edie says, a little drunk, ‘Shouldn’t everyone care about everyone else?’

And Terry replies, ‘Boy, what a fruitcake you are.’

But as he says it, the tender astonishment in Terry’s eyes shows he’s already falling in love with this girl who’s sweet and innocent, but has the strength of character to rise above the roughness of slum life rather than be beaten down by it as Terry has been.

Always lurking in the background as they are becoming more attached to each other is the terrible truth about Terry’s involvement in Edie’s brother’s murder. The powerful, intensely dramatic and heartbreaking moment when Terry finally confesses his part in Joey’s murder, we don’t hear Terry’s words—they’re drowned out by a ship’s blaring horn—but we see Edie’s face, going from love to horror….

And then the wildly passionate scene when Terry breaks into Edie’s apartment and they kiss… It’s raw, it’s emotional, it’s desperate, as Terry, unable to voice how he feels, shows Edie the only way he knows how. And she submits, because despite Terry’s guilt, despite the bad things he’s done, she can see the good man he wants to be. Phwoar! I defy anyone not to be blown away by that kiss.

Okay, so this movie may be a little too intense and dramatic for a Girls’ Night In, but it’s definitely worth a peek if you like your romance occasionally raw and realistic and heartbreakingly honest. Plus Brando is beyond gorgeous in this movie—all rough, ready and raw, with inarticulate, pure animal magnetism (just think Tom Hardy without the tattoos, basically).