On the Waterfront

The man lived by the jungle law of the docks!

Release Date 1954-06-22
Runtime 108 minutes
Status Released
Watch

Overview

A prizefighter-turned-longshoreman with a conscience goes up against labor leaders to expose corruption, extortion, and murder among the union ranks.

Budget $910,000
Revenue $960,000
Vote Average 7.894/10
Vote Count 1658
Popularity 2.9756
Original Language en

Backdrop

Available Languages

English US
Title:
"The man lived by the jungle law of the docks!"
Deutsch DE
Title: Die Faust im Nacken
""
Italiano IT
Title: Fronte del porto
""
Français FR
Title: Sur les quais
"L’homme vivait selon la loi de la jungle des docks !"
Português PT
Title: Há Lodo no Cais
"Quem faz a lei nas docas são eles."
Pусский RU
Title: В порту
""

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Cast

Crew

Reviews

John Chard
10.0/10
You think you're God Almighty, but you know what you are? You're a cheap, lousy, dirty, stinkin' mug! And I'm glad what I done to you, ya hear that? I'm glad what I done! On the Waterfront is directed by Elia Kazan and adapted to screenplay by Budd Schulberg from a series of Malcolm Johnson articles. It stars Marlon Brando, lee J. Cobb, Eva Marie Saint, Karl Malden, Rod Steiger and Pat Henning. Music is by Leonard Bernstein and cinematography by Boris Kaufman. Terry Malloy (Brando) was once a boxer with potential and big dreams. Now working as a longshoreman on the docks for mob boss Johnny Friendly (Cobb), Terry witnesses the murder of a fellow dock worker and finds himself conflicted about if he should inform to the crime commission about what he knows, more so as he gets in tight with the dead man's sister. As good as anything Kazan, Brando and Kaufman ever did, On the Waterfront strips it down to a stench filled corrupt part of New York as honest hard working men battle to make ends meet under the rule of corrupt mob led union bosses. The dialogue is almost lyrical in its simplicity, deftly at odds with the dull pallor of the environment involving barely livable housing and misty docks holding awful secrets. Although a defence for squealing, with the finger pointed at those in the high chairs here, it's a seminal classic that deserved every Oscar win and nomination that it got. From the electric "contender" speech (watch Steiger's facial acting here), to Brando's heart aching discovery of his beloved bids being killed, and onto the unforgettable punch the air finale, thisis a s good as classic cinema gets. 10/10
James
7.0/10
This coulda’ been a contender in a lot of greatest movie polls if people just took a second to fully appreciate it.
CinemaSerf
7.0/10
Although it's Marlon Brando who takes top billing here, I found it was Karl Malden's "Father Barry" who stole the story as the priest who is determined to galvanises the New York dockers to step out from under the oppressive shadow of their boss "Johnny Friendly" (Lee J. Cobb). He's standing over a corpse, that of "Doyle". The deceased had been reputedly chatting with the crime commissioner and so took an unexpected dive off his building. He was a pigeon fancier, and it was this hobby that we know "Malloy" (Brando) used to lure the man to his pen on the roof. We know, but the late man's sister "Edie" (Eva Marie Saint) doesn't. As she determines to get to the bottom of the crime, she and "Malloy" start to become closer. He even begins to fall in love - but the priest tells him that can come to nothing unless he is honest. "Malloy" knows full well that any honesty will set him on a collision course with "Johnny" and with his own, cashmere coat clad brother "Charlie" (Rod Steiger) who acts as the number two around here. A meeting at the church does motivate "Dugan" (Pat Henning) to try to do something about this increasingly unfair scenario, but when he has a little too much whisky, it falls to "Barry" to render up his soliloquy and the dial starts to shift. If you've seen Charles Frend's "The Cruel Sea" (1953) you might recall a scene where, their ship torpedoed, the men float around in the water - water covered in debris and oil. It's dark and menacing looking. The photography here is almost that dark. It's black and white with the emphasis very much not the former. The photography almost seems to magnetise the darker elements of the buildings, the water and bring them to the fore. They become claustrophobic. Cobb is impressive as the boss as is Eve Marie Saint who avoids many of the usual pitfalls for the female lead. Her character is strong and her courage palpable in the face of an increasingly dangerous and desperate scenario. The denouement is gripping, touching and entirely fitting snd if you can get a chance to see this on a big screen, then do - it is a roller-coaster of a film that imbues it's flawed characters with personality and us with a sense of having some skin in it's game.
Wuchak
6.0/10
**_Popular quasi-film noir early in Brando’s career_** A former prize-fighter (Marlon) wrestles with his conscience as a longshoreman on the Hudson River across from Manhattan and the Empire State Building. He finds himself attracted to the sister (Eva Marie Saint) of a murdered dockworker while his lawyer brother (Rod Steiger) defends the corrupt Union boss (Lee J. Cobb). Karl Malden is on hand as a concerned local minister. "On the Waterfront" (1954) is an iconic B&W crime drama that won myriad awards when it came out. It’s a seminal socio-political noir and one of Brando’s three big hits in the early 50s, along with “A Streetcar Named Desire” and, less so, “The Wild One.” I cite those movies because this is cut from the same cloth, just with the milieu of the Hoboken docks in the shadow of the Big Apple. Why it’s not included on lists of film noir is a mystery. Although it’s understandably old-fashioned and a little melodramatic, there’s enough human interest, especially the potential romance, and you can’t beat the authentic setting. I particularly like the rooftop perspective with skyscrapers in the distance in many scenes (reminiscent of Spider-Man comics from the 1960s-1980s). The flick supports being a “stoolpigeon” against corruption and was director Elia Kazan’s answer to those who denounced him for identifying eight Communists in the industry before the House Committee on Un-American Activities in 1952. Despite its renown, Brando seems pudgy and somewhat unappealing. I thought he improved in later (better) movies, like “Désirée,” “The Young Lions,” “One-Eyed Jacks” and “Mutiny on the Bounty,” even “The Fugitive Kind,” “Morituri” and “The Night of the Following Day.” The flick runs almost 1 hour, 48 minutes, and was shot on the shores of Hoboken, New Jersey. GRADE: B-

Famous Quotes

"You don't understand! I coulda had class. I coulda been a contender. I could've been somebody, instead of a bum, which is what I am."

Famous Conversations

TERRY: Right now?

BARNEY: He just got a call from "Mr. Upstairs." Something's gone wrong. He's plenty hot.

TERRY: I'm gonna take her home first.

BARNEY: I'd get over there, Terry. I'll take the little lady home.

TERRY: I'll come over when I'm ready.

BARNEY: You know Johnny when he gets mad.

BIG MAC: And don't be walking off with any of that. You know how the boss feels about individual pilferage.

NOLAN: Talk louder. I can't hear you.

BIG MAC: If you kept your ears wide open instead of your mouth

NOLAN: If I talk too loud it's the fault of the nuns.

BIG MAC: And what in blazes have the nuns got to do with it?

NOLAN: When I was a mere spit of a lad on Ferry Street in Dublin the nuns used to say to me, "Nolan, don't be swallowin' ye words like fishballs. When you got something to say Talk with your mouth wide open," so if I'm loud don't blame me it's the fault of the nuns!

COUNSEL: You mean to sit there and tell me that your local takes in sixty-five thousand, five hundred dollars every year and keeps no financial records?

BIG MAC: Sure we keep records!

COUNSEL: Well, where are they?

BIG MAC: We was robbed last night and we can't find no books.

COUNSEL: Doesn't it seem odd to you that five different waterfront locals were broken into last night and the only articles removed were financial records?

BIG MAC: What do you mean, odd? We was robbed like I told you.

COUNSEL: That's all. Next witness!

CHARLEY: This girl and the Father got their hooks in him so deep he doesn't know which end is up anymore.

JOHNNY: I ain't interested in his mental condition. All I want to know is, is he D 'n D or is he a canary?

CHARLEY: I wish I knew.

JOHNNY: So do I, Charley. For your sake.

CHARLEY: What do you want me to do, Johnny?

JOHNNY: Very simple. Just bring him to... that place we been using. Mac, you take care of the details. Call Gerry G. in if you think you need him.

CHARLEY: Gerry G!! You don't want to do that, Johnny! Sure the boy's outa line, but he's just a confused kid.

JOHNNY: Confused kid? First he crosses me in public and gets away with it and then the next joker, and pretty soon I'm just another fellow down here.

CHARLEY: Johnny, I can't do that. I can't do that, Johnny.

JOHNNY: Then don't.

CHARLEY: But my own kid bro

JOHNNY: This is for you to figure out. You can have it your way or you can have it his way. But you can't have it both ways. Am I right, Sonny?

JOHNNY: Drink up, Charley. We're ahead of you.

CHARLEY: I'm not thirsty.

JOHNNY: After what we been hearing about your brother, I thought your throat'd be kind of dry.

CHARLEY: So they're walking along and smiling. That doesn't mean he's going to talk. There's no evidence until he gives public testimony.

JOHNNY: Thanks for the legal advice, Charley. That's what we always kept you around for. Now how do we keep him from giving this testimony? Isn't that the er as you put it main order of business?

CHARLEY: He was always a good kid. You know that.

CHARLEY: You got a real friend here, kid. Don't forget it.

JOHNNY: Why should he forget it?

CHARLEY: I make it twentysix twenty-three. You're fifty short, Skins.

JOHNNY: Gimme.

CHARLEY: When he got up and chased them they thought it was a dead man coming after them.

JOHNNY: I know what's eatin' you, kid. But I got two thousand dues-payin' members in my local that's seventy-two thousand a year legitimate and when each one of 'em puts in a couple of bucks a day to make sure they work steady well, you figure it out. And that's just for openers. We got the fattest piers in the fattest harbor in the world. Everything that moves in and out we take our cut.

CHARLEY: Why shouldn't we? If we c'n get it we're entitled to it.

JOHNNY: We ain't robbin' pennies from beggars. We cuttin' ourselves in for five-six million a year just on our half a dozen piers a drop in the bucket compared to the traffic in the harbor. But a mighty sweet little drop, eh, Charley?

CHARLEY: It'll do.

JOHNNY: So look, kid, you don't think we c'n afford to be boxed out of a deal like this a deal I sweated and bled for on account of one lousy little cheese-eater, that Doyle bum, who thought he c'd go squealin' to the Crime Commission? Do you?

JOHNNY: What gives with our boy tonight, Charley? He ain't himself.

CHARLEY: The Joey Doyle thing. You know how he is. Things like that he exaggerates them. Too much Marquis of Queensbury. It softens 'em up.

JOHNNY: Listen kid, I'm a soft tough too. Ask any rummy on the dock if I'm not good for a fin any time they put the arm on me. But my old lady raised us ten kids on a stinkin' watchman's pension. When I was sixteen I had to beg for work in the hold. I didn't work my way up out of there for nuthin'.

TERRY: It was you, Charley... .

CHARLEY: Okay I'll tell him I couldn't bring you in. Ten to one they won't believe it, but go ahead, blow. Jump out, quick, and keep going... and God help you from here on in.

TERRY: Wow... .

CHARLEY: What do you weigh these days, slugger?

TERRY: ...eight-seven, eighty-eight. What's it to you?

CHARLEY: Gee, when you tipped one seventy-five you were beautiful. You should've been another Billy Conn. That skunk I got to manage you brought you along too fast.

TERRY: It wasn't him! It was you, Charley. You and Johnny. Like the night the two of youse come in the dressing room and says, "Kid, this ain't your night we're going for the price on Wilson." It ain't my night. I'd of taken Wilson apart that night! I was ready remember the early rounds throwing them combinations. So what happens This bum Wilson he gets the title shot outdoors in the ballpark! and what do I get a couple of bucks and a one-way ticket to Palookaville. It was you, Charley. You was my brother. You should of looked out for me. Instead of making me take them dives for the short-end money.

CHARLEY: I always had a bet down for you. You saw some money.

TERRY: See! You don't understand!

CHARLEY: I tried to keep you in good with Johnny.

TERRY: You don't understand! I could've been a contender. I could've had class and been somebody. Real class. Instead of a bum, let's face it, which is what I am. It was you, Charley.

CHARLEY: Take the boss loading, kid. For God's sake. I don't want to hurt you.

TERRY: Charley... . Charley... . Wow... .

CHARLEY: I wish I didn't have to do this, Terry.

TERRY: I tell you, Charley, I haven't made up my mind!

CHARLEY: Make up your mind, kid, I beg you, before we get to four thirty-seven River... .

TERRY: Four thirty-seven that isn't where Gerry G...?

CHARLEY: There's a slot for a boss loader on the new pier we're opening up.

TERRY: Boss loader!

CHARLEY: Ten cents a hundred pounds on everything that moves in and out. And you don't have to lift a finger. It'll be three-four hundred a week just for openers.

TERRY: And for all that dough I don't do nothin'?

CHARLEY: Absolutely nothing. You do nothing and you say nothing. You understand, don't you, kid?

TERRY: Yeah yeah I guess I do but there's a lot more to this whole thing than I thought, Charley.

CHARLEY: You don't mean you're thinking of testifying against

TERRY: I don't know I don't know! I tell you I ain't made up my mind yet. That's what I wanted to talk to you about.

CHARLEY: Listen, Terry, these piers we handle through the locals you know what they're worth to us?

TERRY: I know. I know.

CHARLEY: Well, then, you know Cousin Johnny isn't going to jeopardize a setup like that for one rubber-lipped

TERRY: Don't say that!

CHARLEY: ex-tanker who's walking on his heels ?

TERRY: Don't say that!

CHARLEY: What the hell!!!

TERRY: I could have been better!

CHARLEY: The point is there isn't much time, kid.

TERRY: River Street? I thought we was going to the Garden.

CHARLEY: I've got to cover a bet there on the way over. Anyway, it gives us a chance to talk.

TERRY: Nothing ever stops you from talking, Charley.

CHARLEY: The grapevine says you picked up a subpoena.

TERRY: That's right... .

CHARLEY: Of course, the boys know you too well to mark you down for a cheese-eater.

TERRY: Mmhmm.

CHARLEY: You know, the boys are getting rather interested in your future.

TERRY: Mmhmmm.

CHARLEY: They feel you've been sort of left out of things, Terry. They think it's time you had a few little things going for you on the docks.

TERRY: A steady job and a few bucks extra, that's all I wanted.

CHARLEY: Sure, that's all right when you're a kid, but you'll be pushing thirty pretty soon, slugger. It's time you got some ambition.

TERRY: I always figured I'd live longer without it.

CHARLEY: Maybe.

TERRY: Gee, Charley, I'm sure glad you stopped by for me. I needed to talk to you. What's it they say about blood, it's

CHARLEY: Thicker than water.

CHARLEY: The complete works of Timothy J. Nolan.

TERRY: Nolan? I knew he had guts but

CHARLEY: You don't mind working once in a while to justify this lofty position?

TERRY: I just fnished work. I counted the bags.

CHARLEY: We got a little extra detail for you. The local priest and this Doyle girl are getting up a meeting in the church. We'd like a rundown on it. You know, names and numbers of all the players. You're nominated.

TERRY: Why me, Charley? I'd feel funny going in there.

CHARLEY: Johnny does you favors, kid. You got to do a little one for him once in a while.

TERRY: But going in that church, I'd be stooling for you, Charley. You make a pigeon out of me.

CHARLEY: Let me explain you something, kid. Stooling is when you rat on your friends, on the guys you're with. When Johnny needs a favor, don't try to figure it out, just do it. Now go ahead, join the congregation.

CHARLEY: Working hard?

TERRY: It's a living.

CHARLEY: Come on, kid. I'll buy you a drink.

TERRY: In a minute.

TERRY: You said they was only going to talk to him.

CHARLEY: That was the idea.

TERRY: I thought they'd talk to him. Try to get him to dummy up.

CHARLEY: Maybe he gave them an argument.

TERRY: I figured the worst they'd do is work him over a little.

CHARLEY: He probably gave 'em an argument.

EDIE: They're waiting for him to walk in.

FATHER BARRY: You hear that, Terry? Terry, did you hear that? You lost the battle but you have a chance to win the war. All you gotta do is walk.

EDIE: Terry...?

FATHER BARRY: Terry... Terry... .

FATHER BARRY: What happened? What happened?

EDIE: Tommy, what happened?

EDIE: Father Barry.

FATHER BARRY: Hello, Edie.

EDIE: I'm afraid I spoke out of turn last night.

FATHER BARRY: You think I'm just a gravy-train rider in a turned-around collar?

EDIE: Time and faith... . My brother's dead and you stand there talking drivel about time and faith.

FATHER BARRY: Why Edie, I

EDIE: How could anyone do this to Joey. The best in the neighborhood... . everybody said it, not only me. Who'd want to harm Joey? Tell me who? -- who?

FATHER BARRY: I wish I knew, Edie, But

EDIE: Don't turn away! Look at it! You're in this too don't you see, don't you see? You're in this too, Father.

FATHER BARRY: Edie, I do what I can. I'm in the church when you need me.

EDIE: "In the church when you need me." Was there ever a saint who hid in the Church?

TERRY: Am I on my feet...?

EDIE: Terry...?

EDIE: Then go ahead go ahead! Go down to the shape-up and get yourself killed, you stupid, pigheaded, son of a What are you trying to prove? With a decisive gesture Terry takes the hook and sticks it through his belt. Then he goes to the wall and lifts Joey's windbreaker from the nail on which it has been hanging. He puts the windbreaker on in a deliberate way, and grins at her as he does so; then he walks to the door with a sense of dignity he has never had before.

TERRY: You always said I was a bum. Well not anymore. I'm going down to the dock. Don't worry, I'm not going to shoot anybody. I'm just going to get my rights. Joey's jacket. It's time I start wearing it.

TERRY: Jimmy...

EDIE: He's going to have to grow up too.

TERRY: My pigeons... .

EDIE: Terry, you better stay in for a while. I'll come and cook your meals. Be sure you keep the door locked.

TERRY: Every one of 'em... .

EDIE: You heard what Johnny said. No part of the Waterfront'll be safe for you now. Maybe inland the Middle West somewhere a job on a farm... .

TERRY: Farm...

TERRY: Edie.

EDIE: I thought you might want some hot coffee.

TERRY: Thanks just the same.

EDIE: Well, it's over.

TERRY: But I feel like My friends won't talk to me.

EDIE: Are you sure they're your friends?

EDIE: Terry, you're bleeding.

TERRY: Do what I told you. Take care of Charley.

EDIE: Terry, for God's sake.

TERRY: Get out of my way.

EDIE: No, I can't let you. I can't, you're

EDIE: Terry, no, no... .

TERRY: Don't hang on to me. And don't follow me. Don't follow me. Call the Father. Ask him to take care of Charley for me. My brother. There's something I got to do.

TERRY: I'll take it out of their skulls.

EDIE: I don't want to see you killed. I want to live with you. Live with you. Any place it's safe to walk the streets without... .

TERRY: I'll take it out of their skulls.

TERRY: Charley.

EDIE: I mean it, let's get away from here, first Joey then Nolan, now Charley and any minute... . ...I'm frightened I'm frightened.

EDIE: Terry, I'm frightened. More and more frightened.

TERRY: I'm looking for Charley. I heard Charley was waiting for me. Charley?

TERRY: My hand.

EDIE: It's just a scratch. You won't die. She turns away from him.

TERRY: Edie...

EDIE: Get away from me.

TERRY: Edie, I need you to love me. Tell me you love me.

EDIE: I didn't say I didn't love you. I said stay away from me.

TERRY: Edie, Edie, I...

TERRY: I had to, Edie. I had to see you.

EDIE: Lucky Pop isn't home, he'd kill you.

TERRY: You think I stink, don't you? You think I stink for what I told you?

EDIE: I don't want to talk about it. I want you to go.

TERRY: Edie, listen to me! I want you to believe me. I want to be with you.

EDIE: How can you be with Charley and Johnny Friendly and still be with me? Either way it's a lie. It's like there were two different people inside of you. You've got to be one or the other.

TERRY: I don't want to hurt Charley I don't want to hurt you...

EDIE: It's you who's being hurt. By keeping it inside you, like a poison. Sooner or later it's got to come out.

TERRY: I know what you want me to do!

EDIE: I don't want you to do anything. Let your conscience tell you what to do.

TERRY: That word again! Why do you keep saying conscience, conscience... .

EDIE: I never mentioned the word before. In his agony he grips a glass standing on the night table.

TERRY: I keep hearing it and I don't know what to do..I don't know what to do... .

EDIE: Terry what's happening to you?

TERRY: I just told the Father.

EDIE: Told him what?

TERRY: What I did to Joey.

EDIE: You... .

TERRY: What I did to Joey.

EDIE: Don't tell me don't tell me!

TERRY: Edie it's

TERRY: Edie... Edie... ..

EDIE: Terry, what's wrong?

TERRY: I've been sittin' in the church.

EDIE: You?

TERRY: Yeah, yeah, it's up to me, it's up to me he says it's up to me.

EDIE: Who says?

TERRY: The Father. The Father.

TERRY: Edie I I never said this to a girl before, I never knew a girl worth trying to say it for, but you you're... .

EDIE: I know... I know... .

EDIE: Pigeons... .

TERRY: There's a hawk around. They're scared tonight.

TERRY: Edie!

EDIE: I I brought this for you, Terry. It was Joey's. Yours is coming out at the elbows.

TERRY: I don't rate it.

EDIE: Go ahead, wear it.

EDIE: It's true.

TERRY: I'm tryin' to keep you from being hurt What more do you want?

EDIE: Much more, Terry. Much, much more!

TERRY: Edie, your old man's right, go back to that school out in daisyland. You're driving yourself nuts you're driving me nuts stop worrying about the truth worry about yourself.

EDIE: Look out for number one. Always number one. I should've known you wouldn't tell me. Pop said Johnny Friendly used to own you. I think he still owns you. No wonder everybody calls you a bum.

TERRY: Don't say that, Edie, don't...

EDIE: What are you going to do?

TERRY: I won't eat cheese for no cops, that's for sure.

EDIE: It was Johnny Friendly who killed Joey, wasn't it?

TERRY: Edie, listen, stay out of this mess. Quit tryin' to ask things about Joey. It ain't safe for you.

EDIE: Why worry about me? You're the one who says only look out for yourself.

TERRY: Okay, get in hot water. But don't come hollerin' to me when you get burned.

EDIE: Why should I come hollering to you at all?

TERRY: Because... because... Listen Edie, don't get sore now but I think we're getting in love with each other.

EDIE: I can't let myself fall in love with you.

TERRY: That goes double for me.

TERRY: I I never knew a girl like you, Edie. I always knew the kind you just grab 'em And I never knew a girl like you, Edie.

EDIE: It's fun dancing with your eyes closed. I'm floating. I'm floating... .

TERRY: What are you crying for?

EDIE: I thought I felt mean tonight. But I'm not I'm just all mixed up... .

TERRY: You're not sore at me?

EDIE: What for?

TERRY: For not being any help?

TERRY: I I'd like to, Edie, but there's nothin' I can do. Edie feels subdued, ashamed at breaking down. She rises, and in a low voice says

EDIE: All right, all right.. I shouldn't 've asked you.

TERRY: You haven't finished your beer.

EDIE: I don't want it. But why don't you stay and finish your drink.

TERRY: I got my whole life to drink.

EDIE: Like Joey? Are you afraid to mention his name?

TERRY: Why keep harpin' on it? Come on, drink up. You got to get a little fun out of life. What's the matter with you? I'll play you some music.

EDIE: You don't believe in anything, do you?

TERRY: Edie, down here it's every man for himself. It's keepin' alive! It's standin' in with the right people so you can keep a little loose change jinglin' in your pocket.

EDIE: And if you don't?

TERRY: If you don't Keep your neck in and your nose clean and You'll never have no trouble down here.

EDIE: But that's living like an animal

EDIE: Now what are you doing?

TERRY: Describing you. A square from out there. I mean you're nowhere. Miss Four Corners.

EDIE: What made you want to be a fighter?

TERRY: I had to scrap all my life. Figured I might as well get paid for it. When I was a kid my old man got killednever mind how. Charley and I was put in a placethey called it a Children's Home. Some home! I run away and peddled papers, fought in club smokers and But what am I runnin' off at the mouth for? What do you care?

EDIE: Shouldn't we care about everybody?

TERRY: What a fruitcake you are!

EDIE: Isn't everybody part of everybody else?

TERRY: Gee, thoughts! Alla time thoughts! You really believe that drool?

EDIE: Terry!

TERRY: Want to hear my philosophy? Do it to him before he does it to you.

EDIE: Our Lord said just the opposite.

TERRY: I'm not lookin' to get crucified. I'm lookin' to stay in one piece.

EDIE: I never met such a person. Not a spark of romance or sentiment or or human kindness in your whole body.

TERRY: What do they do for you, except get in your way?

EDIE: And when things get in your way or people you just knock them aside get rid of Them is that your idea?

TERRY: Listen get this straight don't look at me when you say them things. It wasn't my fault what happened to your brother. Fixing Joey wasn't my idea... .

EDIE: Why, Terry, who said it was?

TERRY: Well, nobody, I guess. But that Father Barry, I didn't like the way he kept lookin' at me.

EDIE: He was looking at everybody the same way. Asking the same question.

TERRY: Yeah, yeah... . This Father Barry, what's his racket?

EDIE: His racket?

TERRY: You've been off in daisyland, honey. Everybody's got a racket.

EDIE: But a priest...?

EDIE: Were you really a prize fighter?

TERRY: I went pretty good for a while, didn't I, Al? But I didn't stay in shape and I had to take a few dives.

EDIE: A dive? You mean, into the water?

TERRY: Naw, in the ring, a dive is-

EDIE: Wham... .

TERRY: How do you like it?

EDIE: It's quite nice.

TERRY: How about another one?

EDIE: No thanks... .

TERRY: Hit me again, Mac.

TERRY: Likewise. And draw two for chasers. Now you're beginning to live.

EDIE: I am?

TERRY: Listen, you like beer?

EDIE: I don't know.

TERRY: Want to go out and have one with me?

EDIE: In a saloon?

TERRY: Come on, I know a quiet one, with a special entrance for ladies... .

TERRY: If another fella tries to take that perch away from him, he lets him have it.

EDIE: Even pigeons aren't peaceful.

TERRY: One thing about them though, they're faithful. They get married just like people.

TERRY: Here they come! The champion flock of the neighborhood.

EDIE: You don't mind yourself at all, do you. Joey used to race pigeons.

TERRY: He had a few birds. I got up and fed 'em this morning.

EDIE: That was nice of you.

TERRY: I like pigeons. You send a bird five hundred miles away he won't stop for food or water until he's back in his own coop.

EDIE: I wouldn't have thought you'd be so interested in pigeons.

TERRY: I go for this stuff. You know this city's full of hawks? There must be twenty thousand of 'em. They perch on top of the big hotels and swoop down on the pigeons in the park.

EDIE: The things that go on.

TERRY: How do you like that one?

EDIE: Oh she's a beauty.

EDIE: The Golden Warriors.

TERRY: I started them Golden Warriors. I was their first Supreme Commander.

EDIE: I changed my mind. I feel real mean tonight.

TERRY: Good. So do I.

EDIE: I'd better go in.

TERRY: I only live up there and across the roof.

EDIE: Thanks anyway.

TERRY: Listen, Edie, am I going to see you again?

EDIE: What for?

TERRY: I don't know.

EDIE: I really don't know.

TERRY: Boy, they sure fly nice, don't they?

EDIE: Do you like pigeons?

TERRY: That's my own flock up there, getting their evening workout. I won plenty of races with 'em. Listen, you want to see them? Come up on the roof with me and I'll show 'em to you.

EDIE: What's that?

TERRY: Pardon me while I reach for my beads.

EDIE: What?

TERRY: What-what? Where you been the last four five years? Outer space?

EDIE: When Mother died Pop sent me out to school in the country. He was afraid with no one home I'd get into bad company.

TERRY: Well he played it smart. Too many good-for-nothin's around here. All they got on their mind's a little beer, a little pool, a little I better get you home.

EDIE: You know how the Sisters are.

TERRY: You training to be a nun or something?

EDIE: It's a regular college. It's just run by the nuns. The Sisters of St. Anne.

TERRY: And you spend all your time just learning stuff, huh?

EDIE: I want to be a teacher.

TERRY: A teacher! Dong!!! You know I admire brains. Take my brother Charley. He's very brainy. Very.

EDIE: It isn't brains. It's how you use them.

TERRY: Yeah. Yeah. I get your thought. You know I seen you lots of times before. Parochial school on Pulaski Street? Seven, eight years ago? Your hair come down in

EDIE: In braids? That's right.

TERRY: Looked like two pieces of rope. And your teeth were

EDIE: I know. I thought I'd never get those braces off.

TERRY: Man, you were a mess!

EDIE: I can get home all right from here

TERRY: The thought I'm tryin' to get over is you grew up beauteeful. Remember me?

EDIE: The moment I saw you.

TERRY: Some people got faces that stick in your mind.

EDIE: I remember you were in trouble all the time.

TERRY: Now you got me! It's a wonder I wasn't punchy by the time I was twelve. The rulers those Sisters used to whack me with! They thought they could beat an education into meI foxed 'em.

EDIE: Maybe they just didn't know how to handle you.

TERRY: How would you've done it?

EDIE: With a little more patience and kindness. That's what makes people mean and difficult. Nobody cares enough about them.

EDIE: Everybody loved Joey. From the little kids to the old rummies. Did you know him very well?

TERRY: Everybody knew him. He got around.

EDIE: What did that man mean when he said you were... .?

TERRY: Aah, he's a bottlebaby, he talks to himself, the joke of the neighborhood.

EDIE: I better get home.

TERRY: I think we're O.K.

EDIE: Thanks. Steel pipes and baseball bats.

TERRY: They play pretty rough.

EDIE: Which side are you with?

TERRY: I'm with Terry.

EDIE: I'll get home all right now.

TERRY: I better see you get there.

TERRY: Oh, I thought you was gonna go to work with all them muscles.

EDIE: Give it to me my Pop's job

TERRY: What makes him so special?

EDIE: None of your business.

TERRY: Things 're lookin' up on the docks, huh, Jackie?

POP: Where you goin'?

EDIE: Let me by.

EDIE: Pop, don't think I'm not feeling grateful for all you've done to get me an education and shelter me from this. But now my eyes are open. I see things I know are so wrong how can I go back and keep my mind on things that are only in books and that people aren't living? I'm staying, Pop. And I'm going to keep on trying to find out who's guilty for Joey. I'd walk home with a dozen Terry Malloys if I thought they could help me. I tell you I'm staying, Pop. Pop starts to pull his belt out of his trousers.

POP: You are like

EDIE: Pop!

POP: You're all packed. And here's your bus ticket. You're on your way back to St. Anne's.

EDIE: Pop, I'm not ready to go back yet.

POP: Edie, for years we pushed quarters into a cookie jar, to keep you up there with the Sisters, and to keep you from things like I just seen out the window. My own daughter arm-in-arm with Terry Malloy. You know who Terry Malloy is?

EDIE: Who is he, Pop?

POP: Who is he! Edie, you're so softhearted and soft-headed you wouldn't recognize the devil if he had you by the throat. You know who this Terry Malloy is? The kid brother of Charlie the Gent, Johnny Friendly's right hand, a butcher in a camel hair coat.

EDIE: Are you trying to tell me Terry is too?

POP: I'm not trying to tell you he's Little Lord Fauntleroy.

EDIE: He tries to act tough, but there's a look in his eyes that... .

POP: A look in his eyes! Hold your hats, brother, here we go again. You think he's one of those cases you're always draggin' in and feelin' sorry for. Like the litter of kittens you hadthe only one she wants to keep has six toes and it's cockeyed to boot. Look at him. The bum! And the crush you had on that little Abyssinian... .

EDIE: He wasn't Abyssinian, Pop, Assyrian... .

POP: Six-toed cats. Assyrians. Abyssinians. It's the same difference. Well don't think this Terry Malloy is any six-toed cockeyed Assyrian. He's a bum. Charley and Johnny Friendly owned him when he was a fighter and when they ring the bell he still goes into action.

EDIE: He wanted to see me again.

POP: You think we kept you out in Tarrytown just to have you go walkin' with a corner saloon hoodlum like Terry Malloy? Now get back to Tarrytown, before I put a strap to you.

EDIE: And learn about charity and justice and all the other things people would rather talk about than practice? Pop goes up to her and holds out his two arms, his right one closer to Edie; he trembles with emotion.

POP: See this arm? It's two inches longer 'n the other one. That's years of workin' and sweatin', liftin' and swingin' a hook. And every time I heisted a box or a coffee bag I says to myselfthis is for Edie, so she can be a teacher or somethin' decent. I promised your mother. You better not let her down.

FATHER BARRY: You can!

TERRY: I can? Okay. Okay...

TERRY: ...walk?

FATHER BARRY: Johnny Friendly is layin' odds that you won't get up.

TERRY: Take your hands off me. What you call me?

FATHER BARRY: A bum. Look what you're doing. You want to be brave? Firing lead into another man's flesh isn't brave. Any bum who picks up a .45 in a pawn shop can be that brave. You want to hurt Johnny Friendly? You want to fix him for what he did to Charley and a dozen men who were better than Charley? Don't fight him like a hoodlum down here in the jungle. That's just what he wants. He'll hit you in the head and plead self-defense. Fight him tomorrow in the courtroom with the truth as you know it Truth is the gun Drop that thing and tell the truth a more dangerous weapon than this little cap pistol.

FATHER BARRY: I want to see you, Terry.

TERRY: You got eyes. I'm right in front of you.

FATHER BARRY: Now don't give me a hard time.

TERRY: What do you want from me, Father.

FATHER BARRY: Your gun.

TERRY: Mind your own business, Father.

FATHER BARRY: This is my business.

TERRY: Why don't you go and chase yourself?

FATHER BARRY: Give me that gun.

TERRY: You go to hell.

FATHER BARRY: What did you say?

TERRY: You go to

TERRY: It started as a favor for my brother you know they'd ask me things and it's hard to say no a favor Who am I kiddin'? They call it a favor but it's do it or else. And this time the favor turned out to be helping them knock off Joey. I just thought they'd lean on him a little but Last night with Edie I wanted to tell her only it stuck in my throat. I guess I was scared of drivin' her away and I love her, Father. She's the first thing I ever loved.

FATHER BARRY: What are you going to do?

TERRY: About Edie?

FATHER BARRY: Edie. The Commission. Your subpoena. I know you got a subpoena.

TERRY: It's like carrying a monkey around on your back.

FATHER BARRY: A question of who rides who.

TERRY: If I spill, my life won't be worth a nickel.

FATHER BARRY: How much is your soul worth if you don't?

TERRY: But it's my own brother they're askin' me to finger and Johnny Friendly. His mother and my mother was first cousins. When I was this high he took me to the ball games... .

FATHER BARRY: Ball games! Don't break my heart! I wouldn't care if he gave you a life pass to the Polo Grounds. So you got a brother. Well, let me tell you something you got some other brothers and they're all getting the short end while your cousin Johnny gets mustard on his face at the Polo Grounds. If I was you Listen, I'm not asking you to do anything, Terry. It's your own conscience that's got to do the asking.

TERRY: Conscience... . I didn't even know I had one until I met you and Edie... this conscience stuff can drive you nuts.

FATHER BARRY: Good luck.

TERRY: Is that all you've got to say to me, Father?

TERRY: What's the matter? I've got something That's chokin' me. I've gotta get it out.

FATHER BARRY: Someone else c'n take your confession.

TERRY: But you're the one I want to tell what you said over Nolan about keepin' silent when you know the score I'm guilty you hear me? I'm guilty... .

FATHER BARRY: I don't want to hear it in there.

TERRY: I don't get it!

FATHER BARRY: Tell it to me in there and my lips are sealed. But if I dig it out myself I can use it where it'll do the most good.

TERRY: But you've got to listen to me.

FATHER BARRY: I'll find you a priest.

FATHER BARRY: You still call it ratting?

NOLAN: Are you on the level, Father?

FATHER BARRY: What do you think?

NOLAN: If I stick my neck out, and they chopped it off, would that be the end of it? Or are you ready to go all the way?

FATHER BARRY: I'll go down the line, Kayo, believe me.

NOLAN: Baseball bats that's just for openers. They'll put the muscle on you, turned-around collar or no turned-around collar.

FATHER BARRY: And I still say you stand up and I'll stand up with you.

NOLAN: Down to the wire?

FATHER BARRY: So help me God!

NOLAN: Well, I had my fun, I've drunk my fill and I tickled some good-lookin' fillies I'm on borried time.

FATHER BARRY: You all right, Nolan?

NOLAN: Yeah, considerin' they was usin' my head for a baseball!

FATHER BARRY: Nice fellows.

NOLAN: Those blood suckers. How I'd love to fix those babies but

FATHER BARRY: But you still hold out for silence?

FATHER BARRY: Now listen, if you know who the pistols are, if you see them on the dock every day, are you going to keep still until they cut you down one by one? Are you? Are you? How about you, Nolan?

NOLAN: Father, one thing you got to understand. On the dock we've always been D 'n D.

FATHER BARRY: D 'n D?

NOLAN: Deef 'n dumb. Somethin' c'n happen right in front of our noses and we don't see nothin'. You know what I mean. No matter how much we hate the torpedoes we don't rat.

NOLAN: Who asked him here?

FATHER BARRY: Have a seat. I'm trying to find out just what happened to Joey Doyle. Maybe you can help.

TERRY: Where you going? I'll walk along with you.

GLOVER: Sure... .

GLOVER: Well, I better get going. Hit those stairs again. Was that a looping right or an uppercut the first time you caught him?

TERRY: Looping right! I never swung wild. I was strictly a short puncher hooks over 'n under whop-whop!

GLOVER: Really?

TERRY: Yeah, really!

TERRY: Yeah. Johnny Friendly and my brother had other ideas.

GLOVER: Such as what?

TERRY: Listen, this ain't for publication.

GLOVER: I'm just resting my feet.

TERRY: Remember the first round how I had him against the ropes, and

GLOVER: I'll never forget it. I thought it was all over.

TERRY: Yeah. My own blood and they sell me out for a lousy bet I had it in me to hit the top and Boy, if I wanted to, the things I could tell you about them guys

GLOVER: Yeah?

GLOVER: Didn't I see you fight in the Garden one night three or four years ago? With a fellow called Wilson?

TERRY: Wilson yeah yeah I fought Wilson.

GLOVER: I thought you were going to take him that night but...

TERRY: You want to know something I would have taken Wilson

GLOVER: I think you could have.

TERRY: If I licked him I would have had the title shot instead of him boy, I was ready that night.

GLOVER: You sure looked it. Something go wrong?

TERRY: I guess it's pretty tough work at that.

GLOVER: Well, it'll be worth it if we can tell the waterfront story the way the people have a right to hear it. Don't you think?

TERRY: You looking for me?

GLOVER: Not exactly. Just thought I'd sit down and rest my dogs a minute. You know the next investigation we get into I hope it's got buildings with elevators in them. This one has been nothing but climbing stairs. And when we hit the top oor the folks are usually out.

GLOVER: You're being served with a subpoena, Mr. Malloy.

TERRY: What?

GLOVER: Be at the State House, Courtroom Nine, at ten o'clock tomorrow.

TERRY: I told you I don't know nothin' and I ain't saying nothin'.

GLOVER: You can bring a lawyer if you wish. And you're privileged under the Constitution to protect yourself against questions that might implicate you in any crimes.

TERRY: You know what you're askin'? You're askin'

TERRY: Never will be much too soon.

GLOVER: Take it easy.

TERRY: Waterfront Crime Commission ? What's that?

GLOVER: We're getting ready to hold public hearings on waterfront crime and underworld infiltration of longshore unions.

TERRY: I don't know nothing.

GLOVER: You're Terry Malloy, aren't you?

TERRY: What about it?

GLOVER: I thought I recognized you. Saw you fight in St. Nick's a couple of years ago.

TERRY: O.K. O.K. Without the bird seed. What do you want?

GLOVER: Our identification.

NOLAN: Some chance at ten percent a week! And if he don't borrow, he don't work.

J.P.: You'll work.

NOLAN: I ought to belt you one, J.P.

J.P.: Raise a hand to me and... .

NOLAN: ... .and you'll tell Johnny Friendly.

J.P.: You'd be off the pier for good.

J.P.: Condolences. How you fixed for cabbage this mornin'?

NOLAN: Oh me and my chum are just rolling in the stuff. We only work down here for a hobby, J.P.

JACKIE: Didn't you recognize him, dopey. That's Old Man Doyle.

TERRY: Doyle. Joey Doyle's... .? ... .You're his... .

TERRY: How do you like them jokers? Taking me for a pigeon.

JACKIE: Gimme the names, I'll write 'em down in me little book.

JACKIE: What's the matter wit' you, success gone to ya head?

TERRY: I told you lay off.

JACKIE: My ain't we touchy this morning?

JACKIE: You're doin' lovely, Terry, very lovely.

TERRY: O.K., O.K., That's enough.

JIMMY: Hey, Terry, guess who's here... that joker from the Commission... .

TERRY: Looking for me?

JIMMY: He's got his nerve, gum-shoeing around here after what you told him.

TERRY: Jimmy, suppose I knew something, say a mug somebody put on somebody... . You think I should turn him in?

JIMMY: A cheese-eater! You're kidding!

TERRY: Yeah, I'm kidding, I'm kidding. You don't think I should turn him in... .

JIMMY: You was a Golden Warrior.

TERRY: Yeah us Golden Warriors. You're a good kid, Jimmy, a good tough kid. We stick together, huh, kid?

JIMMY: You was our first Supreme Commander, Terry. Keep out of sight and I'll tell him you're out.

TERRY: But I ain't out. I'm in. I'm in. Who's lying to who?

JIMMY: Better.

TERRY: Yeah, once they're mated they stay together all their lives until one of 'em dies.

JIMMY: She's a he. His name is Swifty.

TERRY: My lead bird. He's always on that top perch.

JIMMY: I wonder how long she's goin' to hang around, huh, Terry?

TERRY: Be sure they got enough water.

JIMMY: I was gonna feed 'em, Terry.

TERRY: 's all right, kid. I took care of 'em myself this morning.

JIMMY: Boy, you must've been up early.

TERRY: Yeah, yeah, I was awake anyway so I figured They got it made. Eat all they want fly around like crazy sleep side by side and raise gobs of squabs.

JOCKO: You ought to go home and take care of that

TERRY: First things first.

TERRY: No advice. Just whiskey.

JOCKO: Easy. Easy, boy.

JOCKO: What's wrong with your shoulder?

TERRY: Hit me again.

JOCKO: Listen, kid, why don't you go home before Johnny... .

TERRY: Give me a double.

JOCKO: Take it easy now, Terry.

TERRY: Keep the advice. Give me the whiskey.

TERRY: Is Johnny in?

JOCKO: No.

TERRY: No?

JOEY: Yeah? Must be Danny-boy. I lost him in the last race.

TERRY: He followed my birds into their coop. Here, you want him?

JOEY: Well I got to watch myself these days. Know what I mean?

TERRY: I'll bring him up to your loft.

JOEY: I'll see you on the roof.

JOEY: Terry? What do you want?

TERRY: Hey look-

SKINS: I I musta counted wrong, boss, I

JOHNNY: Gimme.

JOHNNY: Hey, Skins --get away with that sheet metal all right?

SKINS: Easy, that new checker faked the receipt. Here it is, boss.

JOHNNY: Stow the receipt. I'll take the cash.

SKINS: Forty-five bills.

JOHNNY: Hey, Terry, front and center.

TERRY: You want to know something? Take the heater away and you're nothin' take the good goods away, and the kickback and the shakedown cabbage away and the pistoleros away and you're a great big hunk of nothing Your guts is all in your wallet and your trigger finger!

JOHNNY: Go on talkin'. You're talkin' yourself right into the river. Go on, go on... .

TERRY: I'm glad what I done today, see? You give it to Joey, you give it to Nolan, you give it to Charley who was one of your own. You thought you was God Almighty instead of a cheap connivinggood-for-nothing bum! So I'm glad what I done you hear me? glad what I done!

JOHNNY: You ratted on us, Terry.

TERRY: From where you stand, maybe. But I'm standing over here now. I was rattin' on myself all them years and didn't know it, helpin' punks like you against people like Pop and Nolan an'... .

JOHNNY: Come on. I want you. You're mine. You're mine! Come on!

JOHNNY: You want to know the trouble with you? You think it makes you a big man if you can give the answers.

TERRY: Listen, Johnny

JOHNNY: Go on beat it. Don't push your luck.

TERRY: You want to know somethin'?

JOHNNY: I said beat it! At the right time I'll catch up with you. Be thinkin' about it.

JOHNNY: Guts! A crummy pigeon who's looking to get his neck wrung! You should have You should have known better than to trust this punched out brother of yours. He was all right hanging around for laughs. But this is business. I don't like goofoffs messing in our business.

TERRY: Now just a minute, I

JOHNNY: It must have been once too often. I think your brains come apart. What you got up there, Chinese bells?

TERRY: Aw, Johnny... .

JOHNNY: I thought you were gonna keep an eye on that church meeting.

TERRY: Nothing happened, Johnny.

JOHNNY: Nothing happened, he says. Some operator you got yourself there, Charley. One more like him and we'll all be wearing striped pajamas.

TERRY: It was a big nothing! The Father did all the talking.

JOHNNY: Oh, he did. Half an hour later a certain Timothy J. Nolan went into secret session with the Commission and he did all the talking.

TERRY: You mean Kayo Nolan, the old timer? He doesn't know much.

JOHNNY: He don't, huh? Well, he knows thirty-nine pages worth of our operation.

TERRY: How'd you get that.

JOHNNY: I got it. Hot off the press.

TERRY: I I was just on my way up, Johnny.

JOHNNY: By way of Chicago?

JOHNNY: You come from Green Point? Go back to Green Point. You don't work here no more. Here, kid, here's half a bill. Go get your load on.

TERRY: Naw, thanks, Johnny, I don't want it, I

JOHNNY: Go on a little present from your Uncle Johnny. And Mac, tomorra mornin' when you shape the men put Terry in the loft. Number one. Every day. Nice easy work. Check in and goof off on the coffee bags. O.K.?

TERRY: Thanks, Johnny... .

JOHNNY: Do you?

TERRY: Well, no, Johnny, I just thought I should've been told if

TERRY: I know, Johnny, I know... .

JOHNNY: Takin' over this local, you know it took a little doin'. Some pretty tough fellas were in the way. They left me this to remember them by.

JOHNNY: Shut up. I like the kid. Remember the night he took Farella at St. Nick's, Charley. We won a bundle. Real tough. A big try.

TERRY: Not a dent. Perfect

JOHNNY: My favorite little cousin.

TERRY: Thirty-six sev aah I lost the count.

JOHNNY: OK skip it, Einstein. How come you never got no education like the rest of us?

JOHNNY: Count this.

TERRY: Aw, you know I don't like to count, Johnny.

JOHNNY: It's good for you. Develops your mind.

JOHNNY: H'ya, slugger, how they hangin'?

TERRY: So-so, Johnny.

JOHNNY: Don't hit me, now, don't hit me!

MRS. COLLINS: You know what I mean. Leave her alone.

TERRY: I was only talkin' to her.

MRS. COLLINS: She's off limits for bums like you. Leave her alone.

TERRY: I can look at her, can't I? It's a free country.

MRS. COLLINS: Not that free.

MRS. COLLINS: You got some nerve.

TERRY: What do you mean?

TERRY: Yeah, yeah Here's half a buck, go have yourself a ball.

MUTT: I can't believe it a small fortune. You can't buy me you're still a bum! 'Bye, Edie. Lord have mercy on Joey.

TERRY: Look who says bum!

MUTT: A dime. One thin dime for a cup of coffee.

TERRY: Coffee, that's a laugh. His belly is used to nothing but rotgut whiskey.

MUTT: One little dime you don't need. I know you you're Edie Doyle. Your Brother's a saint only one ever tried to get me my compensation.

MUTT: Tippi-tippi-tim, tippi-tim, Tippi-tippi-tan, tippi-tan... Gotta dime for a crippled-up docker?

TERRY: Go on, beat it!

MUTT: A dime, Terry, a dime for a cup of coffee?

TERRY: Don't give me that coffee, you rummy. Now blow!

MUTT: Thanks for nothing, you bum.

NOLAN: I was afraid one bottle might get lonely by itself. Now you see the advantage of a little man in a big coat.

POP: Definitely! Nolan, my boy, you're a walkin' distillery.

NOLAN: I wonder how many Hail Marys the Father'll make me say at confession. It'll be worth it! The pallet is loaded now. Terry turns and approaches Nolan.

POP: You think one bottle's enough for all them toasts?

NOLAN: Patrick, me lad, I'm ahead of you.

POP: You see, Kayo, the good Lord watches over us after all.

NOLAN: When we knock off let's have a bit of a party. We'll drink to God and Ireland, its whiskey and its women, to Joey and Edie and death to tyrants everywhere... .!

NOLAN: A banana boat. It would be bananas. One of these days me ship's comin' in from Ireland, God love 'er, loaded to the gunnels with sweet Irish whiskey!

POP: Nolan, me lad, ye're dreamin' again.

TERRY: Listen Nolan

NOLAN: What are you down here for to see we don't make off with any of Mister Friendly's precious cargo?

TERRY: Nolan... .

NOLAN: The brother of Charley the Gent. They'll help us get to the bottom of the river.

TERRY: Keep Charley out of this.

NOLAN: You don't think he'd be helpful?

TERRY: Go ask him, why don't you ? Ask him yourself.

NOLAN: Maybe I will one of these days.

TERRY: One of these days.

Oscar Awards

Wins

ACTOR - 1954 Marlon Brando
ACTRESS IN A SUPPORTING ROLE - 1954 Eva Marie Saint
ART DIRECTION (Black-and-White) - 1954 Richard Day
CINEMATOGRAPHY (Black-and-White) - 1954 Boris Kaufman
DIRECTING - 1954 Elia Kazan
FILM EDITING - 1954 Gene Milford
BEST MOTION PICTURE - 1954 Sam Spiegel
WRITING (Story and Screenplay) - 1954 Budd Schulberg

Nominations

ACTOR IN A SUPPORTING ROLE - 1954 Lee J. Cobb
ACTOR IN A SUPPORTING ROLE - 1954 Karl Malden
ACTOR IN A SUPPORTING ROLE - 1954 Rod Steiger
MUSIC (Music Score of a Dramatic or Comedy Picture) - 1954 Leonard Bernstein

Media

Clip
Terry Malloy and Edie Argue Over The Right Thing To Do | On the Waterfront (1954) | TCM
Clip
Terry Malloy Could've Been a Contender | On the Waterfront (1954) | TCM
Trailer
On the Waterfront (1954) ORIGINAL TRAILER [HD 1080p]