Complex in nature, one’s search for atonement is critical in the journey of self-exploration and understanding.
Kazan’s classic On the Waterfront follows the protagonist, Terry in the multifarious and multifaceted changes he undergoes in the hostile environment to seek redemption. Certainly, his metamorphosis is driven by his burgeoning conscience to atone for his culpable part in Joey’s death and his ethical imperatives to be a good citizen. Kazan explores the idea of gaining acceptance and acknowledgment in the sacrificial deaths of Dugan and Charley.Father Barry’s liturgical role also elicits the deliverance of others. However, whilst Kazan imbues the importance of individuals seeking liberation from one’s past, it would be remiss to consider that the collective redemption of united longshoremen ultimately influences their long awaited victory.
These paths taken by individuals may not in fact be the resulting impact of their squalid and sordid world, but the means of coming to grips with their respective pasts. The search for redemption can arise from the need to atone for one’s guilt.In the opening scenes of the film, the lament of the lone French horn warns viewers of the struggle Terry will face in his quest for salvation. The juxtaposition of the crucifix boat marks the unyielding hope that stands up defiantly in the midst of its deadly environment and further accentuates the urgency of Terry’s journey.
As the cacophony of fast and furious percussion comes to a crashing halt, Joey Doyle is thrown from rundown tenement rooftops and is labeled as the ‘canary’ that ‘can’t fly’.Terry’s own unwitting part in Joey’s death and the mob’s macabre jokes alienate him and highlights the beginning of his transformation. His guilty conscience plagues his soul and the crime weighs down heavily on him like a ‘monkey on [his] back’. This inner turmoil provokes him to confess to Father Barry and empowers him to stand up against the Union in a final act of catharsis, providing him immunity to Friendly’s derogatory epithet labels and his pecuniary favours. After Tommy’s cruel massacre of his pigeons, Terry’s musical theme is reintroduced on the rooftop when he makes the critical decision to confront the Union.As he walks to the pier, he is a changed man.
His confidant stride contrasts his former apologetic, shambling self and poignantly accentuates the conviction that he feels. His refusal to conform and growth from the ‘D and D’ culture is further highlighted by his attempt to verbalise his raging emotions. He asserts that he is ‘standing over here now’ and that he has been ‘ratting on [himself] all those years’, however is his difficulty, he resorts to displaying his fury through physical means in a punch-on with Friendly.In the resulting conflict, Terry is recognised as a hero, not a champion boxer, but a redeemed man who has led his peers away from the corruptive ties that destroyed their integrity. Through redemption, one can gain acceptance and acknowledgment. Whilst initially passive in his refusal to help, Dugan is tired of the Union’s bullying and frustrated by the perpetual struggle of their daily lives.
As the mantle of Joey’s jacket is passed on to him, he finds salvation in his resolve and courage to ‘spill his guts’ and ‘speak out against every evil’ to do his ‘duty as a citizen’.In his act of defiance, he becomes a martyr for the cause, but undoubtedly leaves a lasting impression on the longshoremen and is recognised for his bravery and conviction. Another unlikely hero is Terry’s brother, the ‘butcher in the camelhair coat’. His coat and clothes are significant, in that they define and enclose him – even in death. His status as Friendly’s right hand man has provided largesse, however, under the coat is a troubled man who is under no illusions of Friendly’s immoral practices. Charley’s redemption arises from the choice that he makes to save his brother whom he loves dearly.
In the taxi scene, Terry accuses Charley for selling him out to the ‘short end money’ and leaving him with a ‘one way ticket to Palookaville’. His ambitious dream has poisoned the deep love for his brother and blinded him from what he values most. As he resorts to threaten Terry with force, Terry’s gentle reproach as he moves the gun away with as much care as he would hold Edie’s hand, emotionally unarms Charley. The dark Venetian blinds create an oppressive atmosphere and blaring horn he hears in the background is symbolic of the inner turmoil he experiences and the love that has failed.
As he slumps back into his seat in an act of defeat, Charley makes the choice to risk his own life to allow his brother the chance at justice which he deserves. Indeed, the death of Dugan and Charley deserves recognition, that for the price of justice and integrity, their sacrificial deaths were not in vain. Furthermore, one’s quest may not be to only seek redemption for oneself, but the redemption of others. Although Father Barry becomes the catalyst for Dugan to testify with ‘39 pages of [the Union’s] operations’, his greatest impact is on Terry.His insistence on human rights and dignity forces Terry to see that Friendly’s arbitrary and vindictive hold over the longshoremen is immoral.
Father Barry is initially naive and portrayed as an outsider to the corrupt world, however, quick to get on board, his is soon redeemed. His new understanding further pushes him to evoke for change. Like Edie, the priest sees the goodness in Terry and the potential he has. His ‘tough love’ as he charges Terry to ‘let [his] conscience do the talking’ and asks ‘how much is your soul worth’ is imperative, pushing Terry to critically reflect the price of his silence.
The repetitive imagery of Christ and his drool are important references in encouraging Terry’s burgeoning conscience. Scattered crosses are seen littered throughout the docks, in Edie’s room and on the rooftops, the reiteration of these crucifixes serve to remind Terry of his guilt and also represents Joey’s innocence and goodness. Father Barry understands that boxing is a strong motivator for Terry. In the final sense when Friendly’s goons beat Terry down, Father Barry whispers and comments to his ear ‘Friendly’s laying odds that you won’t get up’, which urges Terry to get to his feet.Additionally, the sound of the urgent boxing bell counting down further encourages Terry to ‘finish what [he] started’ and ‘win the war’. Through helping others find salvation, Father Barry becomes more than just the priest ‘hiding in a church’, he is seen to embody all that is good and is commended for his conviction.
Conversely, the pursuit for redemption is not merely undertaken by courageous individuals, but can be further extended to a collective group of people who seek the chance for a new beginning. Indeed, such an idea is crystallised in the longshoremen’s stand against the Union’s in the final scene.Their act of defiance is indicative of their salvation. They are redeemed in the sense that they have finally stood up against Friendly’s malignant hold over them and made up for the years of corrosive silence.
In supporting Terry they have begun to voice their opinions and are no longer rendered deaf and dumb. When Pop says ‘All my life you have pushed me around’ and pushes Friendly off the pier, the stevedores are united as they laugh at his literal and figurative fall.Furthermore, as Jimmy exclaims ‘Terry don’t work, we don’t work! the image of the ‘Rebel’ boat is symbolic of the their insubordination and conviction to fight for a life free from the seedy, corrupt world that Friendly reigns. It is further noted that the dreamy, silhouette of the Manhattan skyline throughout the film is not in view, suggestive that the longshoremen’s American dream is now within their grasp and that through their deliverance, they have finally been given the opportunity for life, liberty and the pursuit of happiness. Consequently, the unity of the longshoremen empowers them to evoke change for the better and are ultimately redeemed in their quest.In essence, the film affirms that the individual search for redemption is imperative, however further asserts that the impact of united and redeemed longshoremen is crucial in pushing for change.
From the cathartic acts of Terry to the collective action of the stevedores, Kazan successful engages viewers to consider the power of redemption and the precursory events that may lead one on their quest for clarity. As viewers, we are invited to acknowledge the heroic journeys of these characters and the priceless gift of goodness one gains from redemption.
