On+the+Waterfront

=Reading and Responding: On the Waterfront=

= Link to Documents and handouts page =
 * == Scenes from the Film == ||  || == Analysis of the scene - Detailed Notes == || Characters ||
 * ===Scene 1-2:===

Joey's Fall
|| media type="custom" key="10255193" ||  || Emily The scene opens with Terry, Johnny and other members of the mob walking out the door and into the shot. The shot is making them look small, impling that they’re only part of what is happening on the waterfront and are insignificant to the surroundings.Jonny dressed in what would be considered formal/expensive clothing, whereas Terry is in typical 'workmen' clothing.The relationship between Johnny and Terry is explored when Johnny says to Terry ‘you take it from here slugger, as he grabs his cheek. It implies that Johnny has power of Terry and that they seen to be close. Terry and Joey are in the second scene. This explores their relationship through the dialogue (of them talking about the pigeons), creating the audience to understand that they have similar interests. The position in the scene shows Terry as a 'low', bad person where Joey is high in the building showing that he is a better person. The opening picture is a long shot showing the scenery. It shows the the waterfront and its old run down nature. The shot changes to a medium shot, which shows the union building and the men starting to walk out the door and into the shot. Still in a medium shot Johnny Friendly walks to the car with Terry behind him( showing Terry blindly following Johnny). The camera then moves to a close up of Terry showing that he’s upset and really doesn’t want to do what he is about to. In the next scene they use a high angle shot (to set the scene) showing the height of the building and the community environment. Then the camera moves to a close up on Terry (as he yells out to Joey)createing intensity of what he’s about to do. They then uses a low angle shot of the window showing that the building is old and Joey’s room. (Quotes Terry:’ I got one of your birds….. It flew into my coop’. Joey: ‘ I gotta watch myself these days you know what I mean?’) Then changes to a long shot showing how high the building is and that the union men are up there waiting for Joey, creating suspense to the audience (making them wonder what’s going to happen to Joey.) Ending the scene with a high angle shoot, when the pidgion is flying up in the air shows freedom and Terry’s good nature The soundtrack contains drums playing different beats as though the union as marching to the sound of the drums. Making the scene dramatic and build up suspense. The same intense music starts again when Joey is going up to the roof top ans continues when he falls. (creating a dramatic effect) The waterfront contains many boats, wooden buildings and a dock. There is smog, showing it’s a place of boats and work. The building appears to be clean and new compared to its surroundings that are run down, dirty and old, showing the in balance of power. It also has part of a boat, sails and mast in the back of the shot, implying that they are at the waterfront. The next shot shows an expensive car, providing the audience with the idea Johnny in wealthy. When the scene changes to the street, there is a clothesline with wash hanging on it and Joey’s window has ladders surrounding. This is forcing the idea that this is a typical neighbourhood place. In this scene he is starting to show the power Johnny has over Terry and set the scene for the rest of the movie. || ===Truck=== ||
 * Who is in the scene?**
 * Camera Angles**
 * Soundtrack**
 * Environment**
 * Kazan**
 * ===Scene 3:===

On the inside
|| media type="custom" key="10255349" ||  || Jennifer **__Who is in this scene?__** Charlie, Terry, some members of the mob, Joey, Edie, Her father and Father Barry are in this scene. Terry and Edie play a major role in this scene. Terry is there to distract Joey with a white pigeon. He claims it is his. The mob’s objective is to kill joey as he had intentions to speak to the investigators about the corruption of the union. Edie, acts in a dramatic way when she realises her brother is dead. She claims she will not stop looking for her brothers murdered. She acts in an aggressive way pushing Father Barry off her, and hinting insults to him as recognised as she says ‘did you ever hear of a saint hiding in the church’. We understand once viewing this scene, that the mob, Charlie and Terry are authority figures as the public explain how they told Joey to keep quiet and not get involved, showing they have fear against Johnny and his friends. We see there isn’t much trust in the community as Terry wasn’t told the truth. He was told they will get the truth out of Joey, not kill him. Also Edie isn’t very trusting in Father Barry. The message behind this scene where Terry isn’t told the whole truth about how the mob was planning to kill joey is there is a lack of trust and consolidation between the mob and Terry. The audience is positioned to understand that Terry is ‘outsider’ and unlike the rest, who in turn depicts humbleness as he quotes ‘’he was a good kid’’. The angels shots mainly used in this scene is close-up shots, medium shots and long shots. The short close-up shorts are mainly focussed on Edie when she expresses concern and sadness about her brother’s death. The use of close up shots draw the viewers in which makes them pay close attention to her expressions and the way she is feeling. It also allows viewers to understand the importance in this scene, and the significant character. Throughout this scene Terry is focussed with a medium shot, from waist up. This gives his character some detail while still focusing on the subjects around his like the mob who are continuously smoking and laughing, trying to show who are the power holders in this scene. The long shot angle is evident when the mob pushes Joey off the roof. This enables audiences to take in the entire scene and emphasis the vastness of the scene, which create a more dramatic effect. It also presents an impression of isolation. Before the scene when Joey is pushed, there is a tilt up shot to emphasis the height of the building which creates suspense for the viewers In the beginning of this scene there is suspenseful music playing which makes the audience understand that something dramatic is going to occur. It causes them to feel anxious and concerned at what may jump out or happen. The music if fairly loud which grabs attention and focus especially the he characters in the beginning which are the mob. Once the music has died down, and Joey has died, there is a pause of silence. Silence is a powerful element of a sound track. It makes audiences know that something sad has happens, and the silence allows them to analysis a death has occurred and try figure out what will happen next. The images of the moving shadows of the clothes dangling down the building forms suspense. In the beginning of the scene, Charlie asks Terry ‘’How goes’’. Terry explains how the plan went well, that his on the roof etc. Once the Joey has been pushed off the roof, Terry is quick to say ‘’I though they was going to talk to him’’. Charlie responses and tells him they probably got into an agreement which is they reason why they pushed him off the roof. Edies father, doesn’t seem as upset as Edie as he quotes ‘’ if Joey took my advice, you wouldn’t be [dead]’’ The policemen would like some leads to then uncover the investigator however he refuses for his own safety. Edie is shocked to see her brother dead and says to Father Barry several times’ ‘who would kill Joey’’ Father Barry tries to comfort her and says ‘time and faith Edie’’, however she ignores him. H tells her if she needs guidance and help he will be ‘’in the church’’ and she replies ‘did you ever hear of a saint hiding in the church’ The background seems very poor as noticed by the hanging clothes on the roofs and the dirtiness of the community. There are garbage bins evident in the background near Joey’s body, and the apartments and homes seem very old and murky. An important object is in the beginning for he scene where the sign ‘’Johnny’s bar’’ is in the camera shot, and the mob are hanging around the area. This holds importance as it automatically shows who is in charge without any words said. The sign is lit up and focal to grab attention which then the audience understands the significance of the sign. __**Kazan:**__ Kazan is saying in this scene that the mob including Charlie and Terry are in charge of the entire society as recognised as Joeys father is reluctant tell the policemen who murder his son, when he clearly knew. This scene is also about courage by Joey. He was willing to testify against the mob, when everyone else held back as they were afraid and didn’t want to try change. Kazan demonstrates at the beginning that there is corruption and authority by the mob, and that they are charge under him. They act as his ‘messengers’ There is a hint of McCarthyism in this scene as Joey was forced to give evidence to save his community. He did not want to live under the rule of the corrupted mob; therefore he planned to testify against them which in turn lead him to his death. This scene also incorporates aspects of religion and shows the community has religious morals to an extent as Father Barry preys over Joeys dead Body. || ===Tullio=== ||
 * __Camera Angles:?__**
 * __Sound__**
 * __Speech__**
 * __Environment__**
 * ===Scene 4===

The shapeup
|| media type="custom" key="10255151" ||  || Ryan __Characters –__ The Longshoreman, the Goons, Father Barry, Edie Doyle, Waterfront crime commission investigators, Terry Malloy The stances the men have show they kept to themselves most of the time, while the clothing the characters wear show their significance. Terry Malloy has a jacket that is distinct in the crowd that he is in where people mostly wear plain jackets. While the clothes the investigators wear show their level of authority, as well as the goons that are depicted in the scene. The towering stance Big mac has, shows his authority over the crowd as well as his gazing eyes looking for silent signals to pick out for people to work. Father Barry and Edie Doyle are shown as outsiders so far within the film as they are placed away from the centre of the scene. The scene where Big Mac throws the coins shows the desperation that the people are going through to work. As well as when Terry takes a coin and tussles with Edie for the coin, until Terry is told who she is. He shows some respect and guilt towards her and gives up the coin. The shot of the goons in the background overlooking the fighting crowd shows the entertainment they get from their desperation. The police are also shown as insignificant to what is going on at the Waterfront as there is only two men trying to hold back a whole crowd, who are unable to contain the people. __Camera Angles –__ Medium Shot, Close up, Long Shot The medium shot is the predominant angle in this scene which Is mainly used when Terry, Big Mac and the investigators are within the shot. The medium shot is significantly used when it shows the towering presence the investigator has over Terry, even though he doesn’t take any of it, it signifies his authority. As well as when Big Mac is walking up to the workers to hand out jobs, it positions him to show his authority over the workers as he is the towering figure. The most significant medium shot involving Big mac is when it faces him watching over the crowd shifting his eyes around to pick out people, this further emphasis his power. __Sound –__ The only significant noise in this scene is when coins are scattered and people are desperately trying to take a coin, the music intensifies the desperation as it is fast paced just like the fight. __Speech –__ The main dialogue within this scene is based around the investigators talking to Terry to try find out about Joey. Terry refuses to speak saying “I don’t know nothing, i aint seen nothing and I’m not saying nothing”. When the investigators come up to the group asking if they know Terry they say no, even though he is standing with him. This shows they don’t want anything to do with what Terry is being accused of. __Environment –__ The predominant environment shown is the large boat on the docks, the environment is just the usual docking area. However the houses in the background show that it is a poor area that is corrupted. __Kazan –__ Kazan is showing the audience that in times of desperation people are willing to go through alot to get something out of it. This is shown through the brawl to get tokens to work, Terry fights off Edie’s father to gain a token. || ===J P Morgan=== ||
 * Scene 4**
 * ===Scene 5:===

The union explained
|| media type="custom" key="10255449" ||  || Ryan __Characters -__ Kayo Dugan, Father Barry, Edie Doyle, Pop Doyle, and other longshoreman The people that are left over begin to stand around after not being picked to work, Father Barry speaks about the union, which is met with disgust by the fellow men. This is shown particularly through Kayo spitting as he says “what about your union”. The clothes that they were are the typical longshoreman clothes, nothing flashy. However when Tullio and Truck try to push the people away they stop when they realise that Father Barry is there. This shows that they have some respect towards Father Barry and what he does. This scene shows that the men are unwilling to stand up against Johnny Friendly and the power that he has gained __Camera Angles-__ Tilt up, Tilt down, Close-up These three camera angles are used strongly in this short scene. When Father Barry is shown the camera uses the tilt up angle, showing the strength of his character as he is willing to stand up to Johnny and his gang. However when Kayo is brought into the camera the angle used is tilt down, which suggests he is vulnerable which is shown later in the film when he is murdered. __Sound –__ Music is not used within this scene at all, the only sound is the talk of the Union within the workmen and Father Barry. __Speech –__ The main thing being spoken about in this scene is the workmen’s weakness in being able to stand up to Johnny and his friends, something Father Barry wants to change. This is shown when one of the workmen asks the group to go get a ball, which shows they are willing to give up on the union and come back for the next day. Father Barry is shocked when this happens and begins to question about the union. __Environment –__ Once again the environment is depicted in the docks that shows the poor, corrupted landscape of the Waterfront. __Kazan –__ Kazan uses this scene to show that in times of trouble, people are unwilling to stand up to higher authority, which is a sense of McCarthyism. It shows that people, even though they know its wrong, are too afraid to stand up for themselves and just ignore the weakness of the system. || ===Johnny Friendly=== ||
 * ===Scene 6:===

Safety
|| media type="custom" key="10255589" ||  || James

Who is in this scene?
Towards the start of the scene it consists with Charlie hauling through a mass of workers at the docks and eventually goes to Terry who just seems to be on a break and ask Terry for a favour. The scene seems to be set underground. The characters both seem to be positioned center to the audience and the characters seem to be turned at each other. In the secondary part of the scene it is situated in a Church. The relationship being explored here is that the priest wants to get down to the simple designation of who killed Joey. Everyone is positioned fairly close in this room, except Terry who is situated towards the back of the Church away from the others. No one seems to have a link to the current situation, but the crowd in the Church point at Terry and question him why he is even at the Church. In relation to one person the message to the audience is that Terry is may be linked to the murder as some of the public in the Church overlook Charley (Terry’s brother) and as Terry is a link to Charlie he is criticized that Charlie might know something about Joey.

Camera Angles
This scene consists of two places so within the dock it consists of a long shot that turns short when it comes to Charley and Terry talking. The second part of the scene consists within the Church so the shot is mostly long to show all the people within the Church and show Terry’s distance from them. This also shows the audience Terry’s distance from the public to hear about the talk within the Church so he can inform the mob of any issues.

Sound
Within this scene the sound consisted is mostly just dialogue, not any music is confronted except the start of the scene where Charley comes straight to Terry through the workplace. There were noises of machinery. The priest was raising his voice within the Church when he was trying to investigate this issue. The audience gets the experience of the discomfort and how the community has no links, but Terry might.

Speech
This scene summarises a request from Charley to Terry to go to the Church to get the insight of what is being talked about within the Church and what the public are saying about the events that have happened. || ===Charley=== ||
 * ===Scene 7:===

Mob attacks
|| media type="custom" key="10255549" ||  || Joel Father Barry – leading the talk against Johnny. Terry – Checking to see what is happening in the church and to make sure Edie doesn’t get hurt. Edie and her dad – there about Johnny and to see if they should stand up against him. Dugan – Wondering if he should stand up against him. Makes the audience wonder if there is going to be a revolt against Johnny. Seeing what relationship is going to go up with Edie and Terry. How close they are together and to see how much Edie trusts Terry. How far the relationship between Father Barry and Dugan will go and how much they are willing to go to stop Johnny. What angles are used? Camera on the lot of the guys showing them cowering in the corner afraid of Johnny’s men. Medium close up with father Barry and Dugan On which character? Father Barry and Dugan What is the effect on the audience? To feel what they are feeling and to be a part of the movie. What sounds do you hear in this scene? Fast paced music with high suspense The hitting of their baseball bats on the ground What does each sound indicate? How they are in danger and they need to escape How do these sounds create an experience for the audience? Makes them anxious to see what is going to happen. Summarise what is being said in this scene. It is the end of the meeting between Father Barry and between others that might want to stand up against Johnny. At the end of the scene Father Barry and Dugan talk about (after Dugan got bashed up) how far Father Barry will go with him if he decides to stand up against Johnny. Quote (Fr Barry Listen, you stand up and I'll stand up with you. Dugan Right down the wire? Fr Barry So help me God.) What do you see in this scene aside from the characters? The ‘thugs’ banging baseball bats and metal poles on the ground to make everyone scared Are there any important objects? There is a brick or rock that is thrown through the window to get the fear going through everyone. Baseball bats and the poles that Johnny’s boys are using. What is Elia Kazan saying to the audience in this scene. That everyone is scared of Johnny and that he is in charge of the dock and won’t stand for anything that anyone tries to do to stop him. || ===Big Mac=== ||
 * __Who is in the scene?__**
 * Why are they in the scene? (Background? Foreground?)**
 * How does this positioning affect the effect that the character has on the audience?**
 * What part of their relationship is being explored?**
 * If it is one person, what do you think the message to the Audience is about the character?**
 * __Camera angles__**
 * __Sound__**
 * __Speech__**
 * __Environment__**
 * __Kazan__**
 * ===Scene 8:===

Park
|| media type="custom" key="10255595" ||  || **Who is in the scene? ** Edie and Terry are the main characters in this scene, but at the start of the scene an un-names "juicehead" appears. Edie and Terry are there to show the audience thier background stories and softer sides, where as the "juicehead" calls Terry a "bum" and Edie becomes suspiciouys of Terry's involvment in Joeys death. This scene explores Terry and Edies blommoming relationship and it shows that they had both known eachother from when they were children. "didn't you recognise me?" "i recognised you the minute I saw you." There is only the one camera angle throughout the entire scene, a straight on horizontal shot that doesn't show the actors feet. The shot follows both Edie and Terry, and ocasionally zooms in on their faces as they talk, but still stays horizontal. These shots effect the audience because they keep both characters at an equal place, by not showing one higher or lower than the other, it shows that they are both in the same situation. The sounds are faint city sounds and the sounds of the dock (horns, cars, people) and faint music plays in the background. The sounds of the city show that they are still in the city, even though they have a part surrounding and the dock sounds show that they are still near the dock. the peaceful music shows the peaceful mood of the scene. These sounds are used to create a peaceful experience for the audience. It is a moment of relaxation and calm in the midst of all the action and confustion of the conflict on the waterfront. Basically, at the start pf the scene Edie is suspisious of Teryy and asks which side he is on, he replies with "Terry. I'm on my own side." The throughout the scene they talk about themselves and what they want to do in life. Edie mentions that she wants to become a teacher. Terry says "I admire brains". At the end of the scene, Terry asks if he can see Edie again, and she replies with "I dont know." A large metal fence and a swingset. Trees and flowers. The fence symbolises thier trapped feeling on the waterfront. The director is showing the audience that the two characters are begining to like eachother, it also shows Terry's weaker and more vunerable side as he talks to Edie. We see his awkwardness and lack of confidence grow throughout the movie. || ===Kayo Dugan=== ||
 * Why are they in the scene? (Background? Foreground?) **
 * What part of their relationship is being explored? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Camera angles **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">What angles are used? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">On which character? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">What is the effect on the audience? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Sound **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">What sounds do you hear in this scene? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">What does each sound indicate? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">How do these sounds create an experience for the audience? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Speech **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Summarise what is being said in this scene. **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Environment **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">What do you see in this scene aside from the characters? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Are there any important objects? **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">Kazan **
 * <span style="font-family: Verdana,Geneva,sans-serif; font-size: 80%;">What is Elia Kazan saying to the audience in this scene. **
 * ===Scene 9:===

Edie and Dad
|| media type="custom" key="10255609" ||  || Brian After seeing his daughter outside the window with Terry Molloy, Edie’s Pop buys a bus ticket to send Edie back to her study with the sisters at Saint Anne’s. The scene begins when Edie enters her Pop’s apartment. The apartment is small but cosy and a medium short is used to give an even amount of attention to the whole apartment. She enters with a blank expression, thinking about her walk with Terry, then noticing her cloths packed in her suitcase. Then her Pop enters the scene down the hall passing her a bus ticket and goes to finish packing her suitcase. Edie lays back on her bed and debates that she is not ready to leave. Pop responds to this by describing how he and her mother over the years put quarters in the cookie jar to save up for Edie’s education. Then raises his tone as he warns Edie about how Terry is related to Johnny Friendly. Edie tries to defend Terry by saying, “he tries to act tough, but there’s a look in his eyes.” Pop argues this by saying that Terry isn’t one of those cases your always bringing into the house felling sorry for.” At the start of the sentence Edie is stroking the cat that Pop refers to as “one of those cases.” A close-up is used to make the audience pay attention to Edie stroking the cat. This scene develops Edie’s character as a caring person and the cat is an example that Edie wishes to help and cares for Terry. Edie takes two mirrors from her suit case and brushes her hair and tells Pop that Terry wants to see her again. Brushing her hair signifies that she wants to look nice for her next encounter with Terry, showing that she wants Terry to care for her. Pop changes to a caring tone again and shows her his two arm which one is longer than the other, he tells her that it is from years of hard work to pay for Edie’s education and tells her not to let her mom down by staying. Another close shot is used increase attention on the two as Edie replies that she is graitful for the work that he and mom had done but even if she did go, she couldn’t study without knowing, “who is guilty for Joey!” || === Mr Upstairs === ||
 * ===Scene 10:===

Rooftop
|| media type="custom" key="10255653" ||  || Scott Edie, Terry, Tommy(Golden warrior kid) At the beginning of the scene it shows Edie as the focus as she looks about the roof. This shows she seems to be in a foreign place that is unknown to her. Later on in the scene it shows Terry in the pigeon coop with Edie outside looking in. This tell the audience that Terry feels at home with the pigeons and has a close connection with them and the Golden Warrior kid, Tommy. The scene is uncovering apart of Terry that the audience and Edie have not yet seen in him. It shows the caring more sensitive side of Terry as he talks about caring for the birds and explains their nature to Edie. It also carries on exploring the fascination that Edie and Terry have for each other and shows their relationship develop as Edie agrees to have a drink with Terry. Medium tracking shots are used at the beginning of the scene on Edie, to emphasis Edie’s uncertainty as she walks around the rooftop as well as allowing the background rooftop and writing ‘joeys coop’ to be seen by the audience. A long shot is also used at the beginning of the scene to assist with the audiences understanding and feeling of the setting, as it shows the city in the distant background. Mediums shots are used showing Terry and Edie before closes ups are used including both of the characters, reflecting how they are become closer physically and relationship wise. Throughout the scene there is music that indicates the mood of the characters and the overall vibe of the screen. While Edie is walking around the rooftop there is music that jumps all over the place indicating she is in unknown territory and not very sure of herself. But when Terry and Edie are talking there is softer smoother music. In this scene Terry talks about how he has been taking care of Joey’s pigeons and how he ‘ just goes for ‘em’. He also talks about how pigeons live with Edie. Afterwards Terry asks Edie If she would like to have a beer with him, her first one. At the beginning of the scene as Edie walks around, you can see ‘Joey’s coop’ painted on the wall in the background. This is important as the audience now knows where they are, and can understand the context of the conversation that Terry and Edie have soon after. In this scene Ellia Kazan is showing a side of Terry that the audience had not yet seen, and showing the relationship between Terry and Edie beginning to develop. || ===Glover=== ||
 * Who is in the scene**
 * Camera Angles**
 * Sound**
 * Speech**
 * Environment**
 * Kazan**
 * ===Scene 11:===

Philosophies of life
|| media type="custom" key="10255763" ||  || Scott Edie, Terry, Bartender Terry and Edie have come to the bar for a drink after Terry had invited her to come with him on the rooftop. The scene is entirely made of Terry and Edie sitting at a table at the bar, talking and drinking. In the foreground of the scene are Terry and Edie sitting at a table with drinks in front of them, while in the background you can see the surroundings of the bar. In this scene there relationship is being explored as they talk about their lives in the past, and their philosophies of life**.** Medium and close up shots are the only shots used in this scene. This is because the only focus point of the scene is the characters conversation and expression. This allows the audience to see and helps them understand how each character is reacting to what has been said, as important things are being said that they do not agree on. In this scene there is music at the beginning to let the audience know they are in a bar atmosphere. The music is piano that would usually be heard in a bar in the 1950’s. It adds to the scene as it gives the audience a sense of being in the bar. At the beginning of the scene the bartender asks Terry about a fight and if he had seen it. This leads Edie to ask Terry about his life as a boxer. She then asks how he got interested in it, which explains how Johnny Friendly bought a piece of him, and this explains how he is involved with Johnny Friendly now. He then says ‘but what do you care, am I right?’ and she answers with ‘shouldn’t everybody care about everybody else?’. Terry reply’s by saying ‘boy what a fruit cake you are’. They then go on to talk about there beliefs and what was happening about Joey’s death. In this scene Ellia Kazan is showing the difference of opinion, upbringing and life outlook that people have in the world, depending on there situation. ||
 * Who is in the scene**
 * Camera Angles**
 * Sound**
 * Speech**
 * Kazan**
 * ** || ===Pop Doyle===
 * ===Scene 12:===

Wedding
|| media type="custom" key="10255787" ||  || Sameet || ===Edie Doyle=== ||
 * ===Scene 13:===

Threats
|| media type="custom" key="10255775" ||  || Matt Terry, Charley, Johnny Friendly, Tullio, Shofar Terry is confronted by his brother Charley and Boss Johnny Friendly. Tullio is on the background standing behind the car. The position of Johnny Friendly, Charley and Tullio has the affect hat they’re in the power when talking to Terry. The work relationship between Terry and Johnny friendly is being explored, Terry is demoted from working the “cushy job in the lob” to “down in the hole with the sweat gang”. At the opening of the scene, it is a long shot on Terry, at night, having the affect that he is very vulnerable. The long shot consists of Terry walking down an alley when Johnny Friendly speeds up and skids to catch up to Terry to confront him. A medium shot is then used for the rest of the scene panning back and forth behind Johnny Friendly, to behind Terry as the conversation continues. The medium shot from behind terry consists of the car, Johnny Friendly, Charley, Tullio and the Shofar, having the affect of intimidation over Terry as he is out numbered. The opening of the scene is the horn of a ship blowing, to a silence, when the sound of Johnny Friendly’s car speeds up overtakes any other sound in the scene. The sound of the car indicates that getting to Terry is urgent. The audience is positioned in to fear for Terry as they’re positioned that something is about to go down. There is no other background noise in the scene, positioning the audience that this conversation is very important. The car then spins its wheels and speeds off, positioning the audience that the business is done. The main theme over the scene is that Terry didn’t keep an eye on the Church meeting. Thus being demoted back down to the hole in the sweat gang. on that church meeting. operator you got yourself there, Charley. One more like him and we'll all be wearing striped pajamas.” There is nothing significant in the environment other then Johnny Friendly’s car speeding up to Terry. Ellia Kazan is saying to the audience that Johnny Friendly is corrupt with his power, completely owning Terry, and trying to control his life, by telling him to get rid of her. || ===Father Barry=== ||
 * Who is in the scene?**
 * Camera Angles?**
 * Sound?**
 * Summary of the Speech?**
 * JOHNNY:**I thought you were gonna keep an eye
 * Terry :**Nothing happened, Johnny.
 * JOHNNY:** Nothing happened, he says. Some
 * Environment?**
 * Kazan?**
 * ===Scene 14:===

Death of Dugan
|| media type="custom" key="10255777" ||  || Melissa G
 * SCENE 14- DEATH OF DUGAN **
 * Setting:** The scene is set in on the dock and then in the warehouse where the longshoreman are working.

- Terry - Kayo Dugan - Big Mac - Moose - Pop - Johnny
 * Characters in the scene:**


 * Acting style:** Kayo Dugan’s acting style is loud and bossy as he instructs the other longshoreman of what to do.


 * Lighting:** The lighting in this scene creates shadows emphasising the crate of boxes that falls on top of Dugan killing him.

MEDIUM CLOSE—ON DECK—NEAR HATCH—DAY Sonny motions to Specs Donahue, glimpsed as Joey's killer at the opening. Specs nods and goes over to the winchman guiding the tackle over the hatch. He nods to him, and takes his place.
 * Camera Angles: (**effect of angle)

MEDIUM CLOSE—BIG MAC Standing on the deck just above the open hatch. A wordless message passes between him and Specs. Then he looks down into the hatch.

MEDIUM CLOSE—BIG MAC Looking down into the hatch. Above him we can see Specs at the winch controls. He catches the signal. From below the laughter of the men can be heard O.S.

CLOSE—ON SPECS AT WINCH ABOVE HATCH Full of whiskey cases, from angle of Kayo Nolan, Pop, Terry, and others, watching it rise out of the hatch. The general laughter continues. Terry is stiff with fear.

CLOSE—ON CARGO SLING CLOSE SHOT—SPECS Suddenly he appears to lose control of the winch, guiding the up-and-down fall.

CLOSE—ON DUGAN Standing in the middle of the hatch, looking up, as the cargo net begins to plunge downward. The general laughter stops. From farther back in the hold Terry cries:

The sound heard is mostly dialogue. In the beginning of the scene you can hear the hatch being lifted and the sound of seagulls to indicate proximity to the ocean. Lifting and placing down of boxes of whiskey can also be heard in the background of the dialogue throughout this scene. The last sounds in the scene are the sounds of the crates falling and bottles of whiskey smashing as it crushes Kayo Dugan. Aside from the characters in this scene, you can see boxes of whiskey, boats, the deck, a warehouse, a hatch and net to bring the boxes up to the deck. An important object seen in this scene is the hatch bringing up the boxes of whiskey. This is important because this object is the main cause of Dugan’s death as it falls and crushes him.
 * Sound:**
 * Environment:**

The message that Kazan is sending to the audience is that if you speak up you will get killed and speaking up for a cause doesn’t always get you the result you want as it may end in death.
 * Kazan:**

POP You see, Kayo, the good Lord watches over us after all. DUGAN (in an undertone, gaily) When we knock off let's have a bit of a party. (MORE) (CONTINUED) CONTINUED: NOLAN (CONT'D) We'll drink to God and Ireland, its whiskey and its women, to Joey and Edie— and death to tyrants everywhere....! As he finishes this he reveals surreptitiously the neck of a whiskey bottle concealed in his deep-pocketed jacket.
 * Speech:**

POP (with mock concern) You think one bottle's enough for all them toasts?

DUGAN (grins) Patrick, me lad, I'm ahead of you. With a wink he reaches into his other pocket and draws up the neck of another bottle.

DUGAN I was afraid one bottle might get lonely by itself. (reaching into still another pocket and  revealing still more  bottles) Now you see the advantage of a little man in a big coat.

POP (laughing) Definitely! Nolan, my boy, you're a walkin' distillery.

DUGAN I wonder how many Hail Marys the Father'll make me say at confession. (reflects) It'll be worth it! The pallet is loaded now. Terry turns and approaches Nolan. TERRY (with a nervous glance upward)

LISTEN— DUGAN— DUGAN (backing away suspiciously) What are you down here for— to see we don't make off with any of Mister Friendly's precious cargo?

TERRY (miserably) Nolan... .

BIG MAC Come on, Kayo, get it up!

BIG MAC (continuing to bellow) And don't be walking off with any of that. You know how the boss feels about individual pilferage. DUGAN (pretending to clean out his ears) Talk louder. I can't hear you.

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

DUGAN (shouting back) 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? (CONTINUED)

CONTINUED: DUGAN (lowers his voice and confides in the hatch  gang) 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—  (Now he shouts up at Big Mac.)  —Talk with your mouth wide open," so  if I'm loud don't blame me— it's the fault of the nuns! Pop laughs, at Big Mac's expense. The laughter is infectious and sweeps the hatch. Moose lets go with his loud "haw haw." Everyone laughs except Terry, who watches in a cold sweat.

BIG MAC (furiously, from above) Come on, knock it off! The men laugh even louder.

MOOSE Haw haw— that's a good one, Kayo.

BIG MAC (able to shout above their laughter) Knock it off! Stand clear. (to Specs, the winchman, above the  hatch) All right, take it away. Big Mac looks at Specs, touches his cap in a signaling gesture and nods.

From farther back in the hold Terry cries: TERRY (horrified) Dugan...! And tries to pull him back out of danger. Too late. The overloaded cargo net crashes down on Nolan. Wood splinters—glass shatters—and whiskey sprays. Kayo Nolan is pinned under the broken pile of cases.

TOMMY (shouting up) Get a doctor.

POP (hard, flat tone) A doctor— he needs a priest || ===Tommy=== ||
 * ===Scene 15:===

Sermon
|| media type="custom" key="10255833" ||  || Brenton Father Barry, Terry Malloy, The waterfront workers, the mob, Edie Doyle. Father Barry arrives at the scene of Dugan’s death to pledge his support to the longshoremen, demonstrating his commitment by standing firm despite the mob throwing objects at him. The waterfront workers are perched on the level above Father Barry and Dugan, with both Terry and Edie watching on. The scene is a symbol of Father Barry’s disgust with the mob’s actions, and is a turning point for Terry on a moral level. A high-angle shot is used to depict the vulnerable position Father Barry is in when addressing the waterfront workers. A Low-angle shot is used when Johnny Friendly appears on the top of the ship, which is used as a clear reference to his power. Medium shots dominate the scene, with a close-up in the final romantic section between Terry and Edie on the rooftop. The scene is instrumentally silent until father Barry announces his departure after stating ‘amen’. A sinister piece is played to imply grievance, and accompanies the image of Dugan’s body being removed from the ship. The scene of Terry and Edie on the rooftop incorporates a more comfortable piece, suggesting intimacy and romance. The scene is built upon Father Barry’s courageous speech to the waterfront workers that uses religious and ethical weighting to persuade the workers to stand up for their rights. Father Barry states that the mobs methods of ‘fixing up’ workers who are ready to testify as a crucifixion, relating the acts to the painful, torturous and immoral death of Jesus Christ. __Father Barry__ ‘I gave kayo my word that if he stood up to the mob, I stood up with him’ ‘Taking Joey Doyle’s life to stop him testifying is a crucifixion ‘ ‘Dropping a sling on Kayo Dugan because he was ready to spill his guts tomorrow, that’s a crucifixion.’ ‘Every time the mob puts the crusher on a good man to stop him doing his duty as a citizen, that’s a crucifixion’ ‘this is my church’ ‘Jesus stands alongside you’ ‘Do you want to know what’s wrong with our waterfront? It’s the love of a lousy buck. It’s making the love of a lousy buck more important than the love of a fellow man.’ ‘if you do it to the least of mine, you do it to me’ –Jesus Christ ‘Only you with the power of God’s help has the power to knock him out for good’ __Pop Doyle__ ‘The next bum that throws something deals with me’ Pop Doyle’s exclamation, in addition to Terry’s connection with Father Barry’s speech, represents a change in attitude. The workers attention to Father Barry, in addition to the disgust displayed in reaction to the mobs intimidation acts, shows a new appreciation for both Father Barry and his moral lessons. The scene is initially located in the hull of the ship where Kayo Dugan was killed. Dugan’s dead body is still located where he was crushed, although he has a blanket over his body. The ship is scattered with Whisky crates, the objects that were used to kill Dugan. The last minute of the scene takes place on the rooftop where Joey’s pigeon coop is located. The scene on the rooftop is a symbol of familiarity to both Terry and Edie, and serves as a suitable location for the romantic encounter. Elia Kazan uses this scene to assert Father Barry’s determination to assist the workers that are hostage to the unions corruption. Father Barry was initially accused of operating within his church, and his presence on the waterfront supports his contention to stand up for the longshoreman. Father Barry resonates with the faith and moral correctness that Terry lacks, and by showing up at the scene of Dugan’s death, he hopes to inspire the workers to testify against the mob. This scene incorporates a large amount of religious elements, with numerous references to Christ and love of your fellow man incorporated to add weight to his argument. Kazan uses Terry and Edie’s romantic scene to show their growing trust and bond, as Edie gives Terry her dead brother’s jacket as a gesture of care and compassion. || ===Terry Malloy=== ||
 * Who is in the scene?**
 * Why are they in the scene?**
 * What angles are used?**
 * What sounds?**
 * Speech:**
 * Environment:**
 * Kazan:**
 * ===Scene 16:===

Confession
|| media type="custom" key="10255855" ||  || Marini //In the scene.// Terry and Father Barry, with Edie emerging at the very end of the scene. Inspired by the sermon made by Father Barry at the hull, Terry confesses to him that he was involved in the conspiracy. Terry's back is towards the audience at the beginning of the scene in and outside the Church. This manifests the importance of Father Barry's reactions to Terry's confession, in which he is taken aback by the sudden open admittance, however still shows a sense of caring and gratification towards his bravery. Following the confession, Terry and Father Barry are viewed side-by-side to indicate that they are now on the same level of understanding, in contrast to the very beginning of the scene when Father Barry kept shoving Terry away. This positioning and understanding between the characters shows the important role that Father Barry undertakes as Terry's moral guide, actuating him to confess to Edie. //Camera angles.// A medium shot is used on both the characters when walking in the park outside the Church. This shot shows the detail of the physical action that depicts Terry's growth as a character. It shows his determination to redeem himself as he keeps pulling back Father Barry who shoves him away several times not wanting to hear his confession. This is in stark contrast to his initial character; defensive, indecisive with his shoulders hunched and hands in his pockets and avoided eye contact e.g with the Crime Commissioners. Also, a tracking shot is used when the two characters are walking side-by-side. Due to this shot, the black gate beside them appears endless in the mise en scene as they walk, with the waterfront shown in the distance. Prevalent in scenes such as the first time he meets Edie, the gate represents Terry's moral confinement of conscience. The only way he can 'break free' of this and gain self-worth and morality is to confess. //Sound.// As Father Barry and Terry walk out of the Church and into the park, sounds of the surrounding environment are heard all around, e.g birds, cars horning, the distant whistle of the ships in the waterfront. These sounds are all attributes to the authenticity of the scene. //Speech//. Terry: But you know if I spill, my life ain't worth a nickel Father Barry: And how much is your soul worth if you don't? The Father refutes all of Terry's doubts and immoral concerns in order to persuade him to confess to Edie and to his subpoena. //Environment.// The steam from the sewers creates a foggy and hazy mist that fills up the frame in the park. This cloudy environment is suggestive of the ambiguity of the situation that is about to unfold, that is, Terry's confession. As they walk out of the park, the cloudiness begins to clear and disappears as Terry tells his story for the first time to Father Barry. Eventually, the two walk along the gate which happens to be in between the Church and the dock where Edie walks along towards the end of the scene. This is evocative of the choice that Terry, standing in the middle-ground, must make between redeeming his conscience and being free with Edie, or remaining 'deaf and dumb' for the rest of his life. //Kazan.// Being outside of the Church, Kazan specifies that it is not a religious confession of absolution for Terry, but instead a confession of moral redemption. The character Father Barry plays the role of Terry’s guide of moral conscience, whereby he does not pressure him into making a decision, but instead guides him and questions him of the possible outcomes, ‘how much is your soul worth if you don’t?’ //McCarthyism.// The parallels between this scene and McCarthyism are evident through Terry Malloy and director Elia Kazan. Kazan's choice of listing Communist names (1952) is suggestive of Terry's final decision to testify against the mob. Both battle internal conflicts of either folding to conformity or adhering to moral code. The outcomes are both potentially damaging socially and internally i.e, Terry "ratting" on the mob will free him from his guilt, however, he runs the risk of losing his friends, the trust of his brother and the mob aswell as risking his life. On the other hand, not confessing will confine him to a guilt-ridden life as a 'bum'. || === ===

Mutt
||
 * ===Scene 17:===

confession
|| media type="custom" key="10255859" ||  || Marini I//n the scene.// Terry, Edie and Father Barry. As of the previous scene, Terry is convinced to confess to Edie that it was he who lured Joey Doyle onto the roof right before his "knock off". Realising that he was merely a pawn in Johnny Friendly's conspiracy, he is guilty of being involved in the murder of Edie's brother. This scene is Terry's make it or break it point in his relationship with Edie. Because of his attraction and affection, being 'the nicest thing that ever happend' to him, this confession is a large step to his moral redemption aswell as growth as a character and possibly a growing factor to their relationship. It is also a big deal for Father Barry, being the moral guide for Terry. This is because Terry opening up could be the cue for corruption in the community to finally come to an end. //Camera angles.// A long-shot angle of Terry and Edie is used in the beginning of the scene to establish the setting by the river and the dock and New York city in the background. An extreme close-up is used on both characters to show the raw emotion of the confession. Particularly on Edie, the close-up of her face buried in her gloves shows her wet eyes filled with horror and trauma as though her purity and innocence has been completely stripped away by Terry's confession. We also see the wrinkles on her skin which accentuates the harshness of the cold and bleak setting. //Environment.// Standing out by the waterfront, we can see that New York City and the Empire State Building is in the distant background of Terry and Edie. New York is renowned for being "the city of tomorrow", however in this scene, the steam from the boat renders the city hazy and opaque as though the opportunities it may bring seem distant over on their side of the country. Moreover, it is infact mentioned earlier in the film by a longshoreman worker as the Waterfront not being "part of America." //Sound.// The loud horn of the steam boat drowns out most of Terry's confession. Evidently, this specifies that the impact and emotion that this confession presents with it is much more significant than the confession itself. The sounds of the boat whistling is piercing and almost deafening, as are the words to the ears of Edie- evident through her horrified and bewildered expression. It is as though though his words have a physical impact on her. The bombarding music played when Edie runs away from Terry emphasizes the lingering shock and pain she feels after Terry's confession. The tapping sounds of the ship are still heard even after the camera has moved away from them and onto Father Barry, which heightens the suspense of the confession that seemingly backfired as implied by the priests' actions. //Kazan & McCarthyism.// Kazan displays the importance of raw emotion in this scene and the powers that truth beholds aswell as it's impact on people. This may be a depiction of the reaction to telling the truth during the time of McCarthyism; a shock to those named by Kazan and involved in communism, along with a sense of betrayal and mistrust. ||  ||
 * ===Scene 18:===

Kid brother
|| media type="custom" key="10256345" ||  || Kate O // Who is in the scene? // Terry, Tommy, Pigeons, Jimmy, Glover, Charley, Johnny Friendly, Big Mac, Goon’s, Corrupt Taxi driver. // Why are they in the scene? // Terry is in the scene tending to Joeys Pigeons with the two boys Jimmy and Tommy. Glover enters this scene because he wants Terry to turn in the corrupt gang on the waterfront. Glover also tries to manipulate Charlie into telling him the truth by talking to Terry about his failed career as a boxer, because he gave up for the gang and his brother. Glover does this to make Terry want to tell the truth so he does not jeep on losing in his life. The goons, Charley, and Johnny Friendly are in the scene at the water house in a deep heated discussion about Charley’s brother Terry. This conversation is because of Terry’s situation where he might confess about the corruption on the waterfront. Johnny wants to persuade Terry to remain Deaf and Dumb by giving Terry a job offer with money or they will kill him. This upsets Charley but his own life is on the line so he attempts to do what Johnny Friendly requires. // How does this positioning affect the effect that the character has on the audience? // The pigeon scene make the reader sympathise with Terry’s hard decision to tell the truth about the waterfront or to remain ‘Deaf and Dumb’. The audience also sympathies with the fact that Terry was made to give up his dream of being a boxer for his Brother. This makes the audience feel as though Terry is trapped and has a lot to overcome. In the water house it positions the reader to acknowledge the fact that the goons and Johnny Friendly that they are extremely protective of the secret and are willing to take down anyone in their path including Terry and his brother Charley. The audience are also positioned to sympathise with Charley’s difficult situation which is to protect his own life or his brother’s life, when Johnny Friendly says “you can have it your way, or his way, you can’t have both.’ This is truly brings out the tough decision Charley has to make and is reluctant to make a decision. // What part of their relationship is being explored? // The relationship between Charley and Johnny Friendly is tested when Charley suggests keeping his brother out of it. Charleys relationship with Terry is explored when Charley decides to be a martyr for the Terry, which shows a different side to Charley by him caring about his brother’s life more than his own. // Camera Angles- // The camera views used in the scene are several Ariel shots, to establish the location in the scene, this demonstrates the immenseness of the scene this is shown as the boys Tommy and Jimmy see detective Glover. Furthermore this is also demonstrated when the scene is set at the longshoreman lodge on the waterfront. A range of long, medium shots are used throughout the scene which shows us what is happening in the scene and the importance of what is being discussed throughout the scene.At the end of the scene there is a close-up of charley to show his emotions on what decision he needs to make in relation to his brother Terry. This is continued as a different tilt down shot, is used when he is walking out of the lodge. This shows Charley’s vulnerability, which also seen on his facial expressions, on deciding what to do. // Sound- // Throughout scene 18 there is a variety of suspenseful music which positions the reader feel the vastness of the scene, along with the dilemmas many of the characters experience in the scene.Boats horn noises sound to set the scene at the waterfront. // Environment- // In the first part of the scene Terry is on the rooftop tending to the birds inside the cages this also shows that Terry’s life is like a pigeons, in which he is stuck in a cage. Furthermore whilst the Glover is talking to Terry from outside the cage this demonstrates if Terry confesses he could save himself and be free. In the second part of the scene Charley, Johnny Friendly and the mob are in the longshoreman’s lodge discussing the situation of Terry. // Speech- // In the first part of the scene Detective Glover wants a confession on what is really happening on the waterfront from Terry. Glover talks about Terry’s past boxing career. Terry tells Glover that Charley and Johnny wanted to make a bet and win, and forced Terry to lose the game, just so they could make money. Terry- “When those guys want to win a bet, there is nothing they won’t stop at.” The audience can tell the regret Terry feels for throwing in the match by him telling the cop about boxing and the events of the night when he lost the match on purpose. In the second part of the scene Johnny Friendly is discussing with Charley about Terry’s relationship with Edie and questions if Terry is still remaining Deaf and Dumb. Johnny wants Charley to straighten Terry out and if it does not work to give him to Gerry G. Charley claims he is just “a confused kid.” Johnny is scared of losing his position and he believed he would just be “another fella”. Charley is constantly depending his brother throughout the screen, but Johnny remains untouched when saying “You can have it your way, or his way but you can’t have it both ways.” // Kazan- // Elia shows Terry’s disappointment in not fulfilling his career as a boxer when talking to detective Glover, this persuades him to think about testifying, against Johnny Friendly because he is trapped as long as Johnny Friendly has power. ||  ||
 * ===Scene 19:===

In the car
|| media type="custom" key="10255951" ||  || Kate O Scene 19 // Who is in the scene? // Charley, Terry and the corrupt taxi driver. // Why are they in the scene? // Charley and Terry are in the scene because Charley is doing Johnny Friendly’s bidding on giving him a job offer as a “boss loader” on the new pier in which he will not have to lift a finger. The reason he is getting this offer is because Johnny is worried about his position, he is worried that Terry is a “canary” and will tell authorities about the corruption on the water front. // How does this positioning affect the effect that the character has on the audience? // The audience is positioned by them understanding at the start of the scene that Charley only wants everything his way, and has Terry on a string in which he has been controlling him throughout his whole life. Although towards the end of the scene the reader gets an insight on how much compassion and love Charley feels for his little brother Terry. This portrays Charley at the end of the scene as sacrificing himself so Terry has a chance of freedom and a life. // What part of their relationship is being explored? // Charley and Terry’s relationship is being explored by their past and the control Charley has always had over Terry. Terry always wanted to become a boxer but he threw in the match for a bet his brother placed. Although Charley avoids putting the blame of Terry’s failed career on himself. In the taxi Terry begins to tell Charley how he feels and it was his fault he threw in the match- “You came down to my dressing room and said, "Kid, this ain't your night." We're going for the price on Wilson." “My night! I could have taken Wilson apart! So what happens, he gets the title shot outdoors in the ball park. ...and what do I get? A one-way ticket to Palookaville!”“You was my brother, Charley. You should have looked out for me a little bit.”After Terry tells Charley the truth of his actions, Charley automatically feels guilt and begins to stick to his morals and protects Charley. This ultimately tests their relationship by Charley knowing his fate, but he still would rather give his brother a chance at life than to disappoint him again. // If it is one person, what do you think the message is about the character? // Charley is Johnny Friendly’s wingman and loyal to him, and although he benefits from the corruption at the waterfront from his wealth, when he hears his little brother Terry talk about his failed opportunities because of him, Charley ultimately feels a sense of remorse. This remorse brings him back to his values and morals in which he decides Terry is more important that Johnny, his wealth and even his own life. // Camera Angles- // The camera angles used in the scene are a variety of medium shots, in the cab to provide specific focus on Terry and Charley. Mainly throughout Charley and Terry’s conversation there are close-up’s to show the detail and emotion upon the characters faces. Close-ups also display the intensity of the scene and conversation between the brothers. The emotions and facial expressions on Terry’s face shows anxiousness, disappointment and sadness towards the conversation he is having with his brother. Charley’s facial expressions and emotions on his face show he is stressed in the situation he is in, along with anxiousness and pressure to get Terry to take the job. When the camera is close to the characters faces it shows they are perspiring by the pressure they both face. A long-shot is used when the car pulls up to show how close Terry is to where Charley is captured. A tilt down shot is used where Charley’s taxi goes down the Alley way to depict his vulnerability and lack of power. The camera then tilts up to show Johnny Friendly in a building above to portray his strength and power he holds. // Sound- // Car horn, Suspenseful music when the taxi driver take Charley through the alley way. // Speech- // Charley tries to convince Terry to aim for more in his life and have ambitions. Terry however tells Charley he is happy how he is- “A steady job...a couple extra potatoes, that's all I want”. Charley then tries to force the job offer to Terry. Charley explains the greatness of the job $400 a week for doing nothing. Terry realises Charley is only giving him this job on Johnny Friendly’s behalf to remain D and D. Terry expresses his predicament to testify against Johnny Friendly. Terry realises his brother is playing him and forcing him to take the job for his own safety, this is confirmed when Charley points the gun at Terry. Although Terry just shakes his head in disappointment. Charley cannot go through with it and blames Terry’s failed career as a boxer on others. Terry tell his brother it was his fault and that Charley should have looked out for him and blames Charley for becoming a bum instead of great. Charley automatically feels guilt- “Okay, Okay. I'll tell them......I couldn't find you. Ten to one they won't believe me.” Charleys nervousness, expression and perspiration show he knows letting his brother free would back fire on himself. // Environment- // The environment in which the characters are in is a taxi in which they are discussing Terry’s career offer as a “boss loader”. An important object in the scene is the gun Charley has, which is a way of trying to intimidate Terry into taking the job. Although this fails and Terry begins to realise how deep Charley is in the corruption taking place at the water front. He feels disappointment towards his brother when Charley pulls out the gun-“Charley, Charley, oh Charley, wow”. Charley however puts his desperate need for Terry to accept the job aside and puts away the gun. // Kazan- // Elia shows both the characters in the scene as being changing and in the end keeping to their values and morals, no matter the consequences they face. ||  ||
 * ===Scene 20:===

Terry
|| media type="custom" key="10255955" ||  || Jordan Scene 20 Who is in the scene? Edie, Terry, Mrs Carroll and the Driver and Passenger Why are they in the scene? The settings include Edie’s apartment, outside Mrs Carroll’s Place and the alley way. Key background items are the crucifix on the wall of Edie’s apartment which is only apparent when she mentions conscience to Terry. In the foreground Terry is seen looking out the window that Joey was looking out of in the opening scene. As they move down the alley way you audience’s attention is drawn deep into the screen as the car approaches the two characters. How does the positioning of the characters affect the scenes message? The eye is first drawn to Edie who moves to the centre of the screen in a white night gown, Edie locks the door and moves to the corner of her bed grasping the pillow as she is fearful of her feelings towards terry and the position she is in is a security position still in pain of what she now knows about Terry’s involvement. Terry breaks the door down and the camera switches between the two characters and when they both enter the shot there is a large distance between the characters which shrinks when Terry confesses his love and Edie also. The characters embrace and are against a wall covered by another wall from the audiences view to create suspense as the viewer tries to find out whether everything has been forgiven. The characters are shown in a embrace kissing as they fall to the floor showing the love and closeness between the two. Terry is then torn away as he is called from outside as Edie remains on the floor rubbing her hands on her face in disappointment. Terry is then shown in the place where Joey was at the window and then Edie moves to that spot as terry is seen walking out into the night. Mrs Carroll is then shown as the focus as she is shown to be aware of what is going to happen. Edie runs towards Terry from a far distance with the car fast approaching and terry runs towards Edie and take a close refuge in the doorway. What part of the relationship is being explored? Terry and Edie are both expressing their feelings of love and Terry is showing his softer side the side that Edie fell in love with. What angles are used? On Who And Why? As the scene opens there is a wide angle used showing the apartment of Edie. As Edie yells there is a close up on her showing all the mixture of emotions she has. The camera moves to the door as Terry breaks in. back and forth close ups are used as the two argue. As Edie rises to her feet a medium shot shows Terry moving closer to Edie until they lock in an embrace where the shot moves to a close up to show the love of the two characters. Terry draws the camera to a medium shot again as he moves to the window. Medium shots are used until the point of view shot as Edie watches terry move into the night. Another medium shot shows Mrs Carroll with her husband behind her being shown as unphased by the events while Mrs Carroll is shown as worried. A long shot is used to show the oncoming car and the building suspense. Sound The music begins as terry is pounding on the door creating the suspense of the upcoming argument but is then silent when they kiss. The dramatic music that symbolises death begins again as two voices call out Terry, the music does not stop for the rest of the scene. Speech Terry is expressing his feelings towards Edie. Edie is hesitant to forgive terry but later it is clear that she wishes to be with him, the second half of the scene is about Charlie and terry in trouble. Environment there are no major objects except Edie’s hairbrush that is symbolic of the innocence of a girl. Also there is a crucifix on the wall as soon as conscience is mentioned. Kazan may have been making a point of the extreme pressure he was under at the time between his wants the needs of others and the pressure by the majority. || o ||
 * ===Scene 21:===

Revenge
|| media type="custom" key="10256045" ||  || Jordan Scene 21 Who is in the scene? Terry and Edie start the scene by discovering Charlie who has been killed and is hanging by a hook “ A Crucifixion”. All the characters are shown to be really close together to show the connections between all the characters and draws emotion from the audience. Terry and Charlies relationship is being explored showing how close the brothers are however this is to late for such love. Camera Angles All shots in this scene are of medium range the director was clearly trying to show the raw emotions of the characters and the interactions between them. The only shot with only one character on screen is of the Dead Charlie and of Terry walking away with the gun. The audience is meant to sympathise with the protagonist with his loss and be in the moment and share it with the characters. Sound the music begins as a emotional piece until terry pulls the gun when the music shifts to a dramatic piece. The music is to get the full emotion from the audience Speech the dialogue is all about Terry swearing revenge for his brother’s death. Environment The Hook that Charlie is hanging from is the sign of the Mob. The hook symbolises the power of the Mob Kazan is making a statement of the extreme pressure that he was under. ||  ||
 * ===Scene 22:===

Truth
|| media type="custom" key="10256051" || Ashley || =====Who is in the scene?=====
 * =====Terry=====
 * =====Father Barry=====
 * =====John Friendly=====
 * =====Luke=====

Characters costumes:

 * =====Johnny Friendly arrives in the seen with a suit, this acknowledges him to look neat and tidy whereas terry looks untidy in his flannelette shirt and jeans,=====

Acting style:

 * =====Terry uses an exaggerated and bossy toned voice to enable his power and strengths throughout this scene=====
 * =====When Johnny Friendly enters the room, he enters with a shocked and scared facial expression, this demonstrated that both characters do not have a good relationship.=====
 * =====When Father Barry explains to Terry bravery does not come by shooting someone, he has an upright posture, this acknowledges he is telling the truth and the power he has over Terry.=====

Camera follows Father Barry when he walks up to Terry

 * =====This camera shot demonstrates to us the power Father Barry has over Terry.=====

=
Camera changed to a tilt-up when Terry and Father Barry were having a conversation. In this conversation Father Barry was explaining to Terry Bravery is not shooting someone else its risking oneself for truth.=====
 * =====This angle of the camera emphasis the height and power that Father Barry has over Terry=====

Camera goes to a close-up on the photo frame, after terry has thrown the pistol through it

 * =====This camera angle indicates to the audience the power Terry feels to shatter Johnny Friendly powerful relationships.=====

What types of sound do you hear?

 * =====Talking and communication of Terry and the bar tender- raised, loud voices=====
 * =====Then Father Barry and Terry communicating- raised, loud voices=====
 * =====Towards the end of the seen music is slowly brought into it- this provides suspense to the audience.=====
 * =====Loud bang when terry throws the pistol at the photograph.=====

Important objects:

 * ===== Pistol =====
 * ===== Photo frame =====

=
The message Ellia Kazan is saying to the audience in the scene is power, revenge and courage. Father Barry acknowledges to Terry having power and courage is demonstrated by telling the truth not by shooting another individual. ===== ||  ||
 * ===Scene 23:===

Trial
|| media type="custom" key="10256109" ||  || Tenille Johnny Friendly and Terry Molloy are in the scene as they are the main characters of the film and this court case is based around the troubles the two are having. Their relationship is explored by showing how Terry and Johnny used to have trust in each other now they resent one another. Mr Upstairs is shown in the scene to display his power over all of his employees. He no longer wants anything to do with Johnny Friendly as he has been named as violent and corrupt. Johnny Friendly is really powerless without ‘Mr Upstairs’.
 * __ Characters in the scene __**
 * Johnny Friendly
 * Terry Molloy
 * Edie
 * Clerk
 * Judges
 * Mr upstairs
 * Butler
 * __ Camera Angles __**
 * CLOSER SHOT—COUNSEL AND BIG MAC
 * CLOSE SHOT—EDIE, FATHER BARRY
 * CLOSE—ON TERRY
 * CLOSE—ON LARGE TV SET IN AN ELEGANT STUDY
 * INT—MEDIUM CLOSE—COURTROOM—ON TERRY — DAY
 * INT—CLOSE—COURTHOUSE LOBBY AND STAIRS ON HEAVY FOOTSTEPS—DAY
 * CLOSE ON TWO MORE PAIRS OF HEAVY FOOTSTEPS
 * MEDIUM CLOSE—TERRY AND POLICEMEN CROSSING COURTHOUSE LOBBY—DAY
 * INT—TERRY'S ROOM

In Scene 23 there a lot of close ups used to show expressions and emotions on the characters faces. To show the frustration in Johnny Friendly’s eyes and the worried face Edie displays. Kazan also does a close up of the Large TV set when Mr Upstairs is shown to emphasise his rich leather chair, and a strong, manicured hand wearing an expensive ring picks, this is done to show the money and power that Mr upstairs holds. The sound heard in this scene is mostly dialogue. The only time any noise is heard is when a big statement is made in the courtroom and the crowd react with muttering. In this scene I also see a room full of people. The Courtroom is packed as everyone wants to see what happens. There are also paparazzi around the room taking photos of the suspects and videotaping the whole court case. Everyone in the room is very serious. Kazan is trying to get the message of staying true to your values across to the audience. He believes the best way is to tell the truth and not to be behind the bush. This scene relates to McCarthyism by referring to the trials in the court case. When in trial you are forced to talk and give evidence of what you know. It relates to Elia Kazan as he was put in trial two times, the first he chose not to speak and the second time he thought the best thing to do would be to tell the court what he knew. ||  ||
 * __ Sound __**
 * __ Environment __**
 * __ Kazan __**
 * ===Scene 24:===

On the rooftop
|| media type="custom" key="10256115" ||  || Arvin


 * Who is in the scene?**

Terry, Edie, Tommy, Johnny friendly and his crew, longshoremen.

The scene begins when Tommy runs away after slaughtering all of Terry's pidgeons on the rooftop. Disappointed by the circumstances, Edie tries to persuade Terry not to confront Johnny Friendly and his crew. Neglecting Edie, Terry makes his way down towards the longshoremen where Big Mac doesn't provide Terry with work, but rather ridicules him. Later in the scene it shows Johnny Friendly and his crew reading the papers in the bar, where Johnny Friendly's paranoia is getting the best of him. In this scene it shows how both protagonist Terry and antagonist Johnny Friendly, both feel uncomfortable in the places where they would regularly feel most comfortable in.


 * Camera Angles**

There are several close ups in the scene of Terry and Edie to show there emotion towards each other and the predicament Terry is in. A long shot is used over the longshoremen as it shows they are powerless and it also shows how the longshoremen are standing in groups, whereas Terry is standing/walking alone. Medium shots are also taken of Terry, which show us his surroundings and how the longshoremen think of Terry.

At the beginning of the film where Tommy murders Terry's pidgeons, a song plays which resembles the sadness and disappointment of Terry. Also the sound of the ships horns sets the scene at the dock.
 * Sound**


 * Environment**

The scene begins on the rooftop where the pidgeons are located, a place where Terry and Edie are familiar and comfortable with, until the murder of the pidgeons. The scene then takes place on the docks where longshoremen await they're job allocations where again is a place of which Terry is familiar and comfortable, until being neglected by Big Mac and the longshoremen. The other setting is Johnny Friendly's bar as it is put too comparison with the ship and the docklands, seen as just a minute building. Inside the bar it shows how Johnny Friendly is even paranoid in his own comfort zone.

Kazan is trying to portray how everything Terry does and everywhere he goes, Johnny Friendly's power is too overwhelming and that he needs to make a stand once and for all, as he has the power and courage to silence Johnny Friendly. ||  ||
 * Elia Kazan**
 * ===Scene 25:===

Confrontation
|| media type="custom" key="10256119" ||  || Vanessa Who is in the scene? Johnny Friendly (and gang) and Terry. Why are they in the scene? (background? Foreground?) In this scene Terry is followed by the towns people as he marches to Johnny Friendy’s waterfront office, When Terry reaches his office he throws a hook at Johnny’s door while screaming his name demanding his attention. After Johnny steps outside his office Terry screams at him telling him off for all his deceit and lets Johnny know that his is proud of what he did to him. After swapping arguments Johnny urges Terry to fight him, they struggle for a bit then Johnny’s gang members help him out and gang up on Terry who end up badly hurt and in the water. How does this positioning affect the effect that the character has on the audience? At the beginning of this scene Terry is viewed in a ‘Tilt-up (or low-angle) shot’, with the camera placed below looking in an upwards angle. Thus creating suspense and emphasising the sudden confidence and strength What part of their relationship is being explored? The tension between the two characters is clearly explored through their physical confrontation. Camera AnglesWhat angles are used?On which character? What is the effect? Close-up – At the beginning of the scene, Tilt-up (or low-angle) shot – While Terry is shouting at Johnny, Long shot – When Terry is walking down the docks, Tilt-down (or high-angle) shot – Johnny is not the one with the power Terry is. Sound – Nondiegetic What sounds do you hear in this scene? (dialogue? Music? Ambient noise?) Sad trumpet noises when the camera is close up on Terry Then it stops and there is silence when he starts to walk and while he is talking. Dramatic music starts playing after Terry says “I’m glad what I’ve done to you....” What does each sound indicate? The trumpet indicate sadness/change and the dramatic music indicates that trouble is about to come/happen. How do these sounds create an experience for the audience? How is the audience positioned? These sounds make the audience expect that something dramatic is going to happen. When music plays depending on the type the audience can tell that something is going to happen. SpeechSummarise what is being said in this scene. ** Terry Johnny Friendly****Friendly! John Friendly, come out of there! You want to know the trouble with you?You think it makes you a big man if you give the answers.At the right time I'll catch up with you. Think about that.-Now, go on, beat it. Don't push your luck. -Wait a minute.You take them heaters away from you and you're nothing, you know that? You'll talk yourself in the river! You take the good goods away and the kickbacks......and shakedown cabbage and the pistoleros and you're nothing!Your guts is all in your wallet and your trigger finger! You ratted on us, Terry! From where you stand, maybe. But I'm standing over here now!I was ratting on myself all them years, I didn't even know it. You gave it to Joey, you gave it to Dugan... ...and you gave it to Charley who was one of your own. You think you're God Almighty, but you know what you are? You're a cheap... ...lousy, dirty, stinking mug... ...and I'm glad what I done to you!You hear that? I'm glad what I done!And I'm going to keep on doing it till I get--**In this scene Terry encourages Johnny Friendly to come out of his office for a confrontation after Johnny steps outside they argue for a while about Terry ‘ratting’ on Johnny and the gang, Terry is glad what he did to Johnny because he finally got a taste of what he deserved. Johnny encourages Terry to fight, after a few moments of arguing the confrontation turns physical and Johnny’s gang steps in and helps Johnny and Terry ends up badly hurt and in the water. Environment. What do you see in this scene aside from the characters? Water, Johnny Friendly’s waterfront office, Boat, Terry’s hook, ropes, decks, caged windows bridge, barricades, fences etc. Are there any important objects? Yes, Bridge, fence and barricades. If so, what are they and why are they important? The bridge isn’t very stable but Terry stands a strong ground anyway.The fence and barricades are important because all the background characters follow Terry down to the docks and watch the confrontation from behind barricades and fences, symboling that they are trapped and under Johnny’s power and they are waiting for Terry to free them – They are almost free because Johnny is gradually losing power over the population of the town. If not, why not? KazanWhat is Ellia Kazan saying to the audience in this scene? Ellia is saying that in this scene Terry has developed a power over Johnny, By standing up to Johnny influences other’s in the town to stand behind him and stand up to the corruption Johnny has created for the town. As Johnny’s power over the people of the town reduces their freedom increases. Is there a statement about McCarthyism being interwoven into this scene?If so, what is it? ||  ||
 * ===Scene 26:===

Fight
|| media type="custom" key="10256271" ||  || <span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">Following his testimony, Terry is marginalised further as he is unable to obtain work. It is only through his final act of standing up to Johnny Friendly that he is able to garner the support of his fellow workers. Despite having been most affected by Friendly’s rule, Terry’s fellow workers are not at all certain that he has made the right decision. The heroic tale of one man standing out against the crowd for what he believes to be right is balanced by the initial incomprehension of so many of his fellow workers and, in the final scene, by the uncertain victory that has been won. It is also important to think about the fact that Terry is initially motivated by revenge, a desire to pay Friendly back for killing his brother.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">The final battle occurs, most fittingly, on the waterfront itself. Terry wears Joey’s jacket, symbolising to Johnny and to the longshoreman the fallacy of “D ‘n D”. Johnny accuses him of “ratting on us”, but Terry smiles and appeals with his hands to his true friends, stating to all watching “From where you stand maybe, but I’m standing over here now. I was ratting on myself all them years: I didn’t even know it.” The truth is out! Johnny’s evil regime is broken, but Elia Kazan is not finished yet. He wants the workers to unite, and to overthrow their oppressor. Thus it is that there is one more battle to be fought, a fist-fight of uneven odds that Terry must lose in order “to win the war.” ||  ||
 * ===Scene 27:===

Walk
|| media type="custom" key="10256277" ||  || The Mob with its masculine mob psychology is defeated in an act of unbridled resistance as Terry heroically breaks the hold of the corrupt bosses of the Longshoreman’s Union and re-establishes order and rule of law in a triumphant final scene. A bloodied but unbowed Terry Malloy leads the longshoremen on to the docks, free of the arbitrary and vindictive hold of the corrupt Longshoreman’s Union. It is the final act of catharsis and atonement that started with his confessions to both Father Barry and Edie about his complicity in the murder of Edie’s brother Joey Doyle. While there is the final act of defiance and resistance, Terry Malloy’s character opens up gradually.

The final sequence is loaded with Biblical allusions. Terry Malloy assumes the status of saviour. Initially, he is ostracised by fellow longshoremen, but his courage in asserting his ‘rights’ convinces them that shunning him and remaining subservient will only perpetuate the abuse of power. The longshoremen become the disciples in his flock and watch with a mixture of trepidation and admiration as Terry throws down the gauntlet to Johnny Friendly. The stranglehold of the union is threatened by his stand. After a vicious beating, Terry wills himself to walk to the warehouse. Carrying a hook instead of a cross he refuses assistance. Bloodied and beaten, but unbowed he has seized the old union order. <span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;"> As Terry staggers towards the pier door, he is trying to fulfil Edie’s faith in him, show Johnnie Friendly what he is made of and finally be “somebody”. At the same time, as Father Barry urges Terry to get up, telling him that Johnny Friendly is laying bets he won’t, Terry once again becomes a prize-fighter performing to please other people.

The viewer identifies with Terry Malloy as the moment is observed through his own blurred vision as he approaches the entrance watched by a guard on honour formed by fellow longshoremen. His confessors, Father Barry and Edie, are close to him in his moment of final redemption. To the building crescendo of music there is a momentary victory in all of this. The menacing figure of Johnny Friendly is never far away and his hatred which he pours on those who have broken his ranks might, in fact, be foretelling. In melodramatic tradition the lone saviour has at least temporarily removed corruption and oppression. Individual heroism, saturated with moral courage, is affirmed in this final act of resistance.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 110%;">T<span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">erry grabs Joey’s jacket and wears it in front of all. <span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">Terry is surrounded with people who admire and respect him. His informing has elevated him in the longshoremen’s eyes, and he has no reason to doubt his decision. However, in the midst of Father Barry’s triumph, Friendly’s blustering, the shipowner’s impatience, and even the workers’ naïve faith, Terry seems irrevocably alone. Even Edie, who has shown Terry the kind of man he could be, appears curiously disconnected. The smile that plays on her lips seems to be more for the man who has avenged her brother’s death than for her barely alive lover. It is as if Terry’s efforts have made him more invisible than ever. By standing up against the mob, Terry becomes a hero, the “somebody’ that he dreamed of being in the boxing ring. However, he also loses key elements of his identity, as he becomes alienated from the union mob, the longshoremen and the Golden Warriors.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">When Terry staggers towards the door, it is significant that the events are literally seen through his eyes; he has become the film’s moral compass and the audience looks through his eyes to see what the way forward might be. However, Terry is confronted by the imposing form of the shipowner, and his blurred vision is a reminder that nothing is certain in this world. Perhaps Terry’s heroism comes from his effort to do the right thing despite not being absolutely sure what that is. While Johnny Friendly may have been ousted, the sight of the shipowner standing in the doorway of the work area in his hat and overcoat casts doubt over the possibility that the power has shifted in the longshoremen’s favour. The closing image of the roller door closing with such finality behind the men suggests they have been swallowed up by the industrial might of the shipowner.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">There is no certainty that Terry’s painful struggle is really going to liberate the men and the ominous closing of the pier door suggests the contrary. For Father Barry, Terry’s Herculean struggle to make it into the loading area with the other men is a triumph for the workers, and for Edie, it is a glorious display of personal integrity. However, each of these visions is at odds with the film’s ambivalence about the consequences and effects of acts of individual heroism. How noble is a futile sacrifice? ||  ||