Post by petrolino on Jul 23, 2017 2:46:28 GMT
The masterpiece 'On The Waterfront' has so many shades of grey I find myself contrary to every reading. It's assembled by a master filmmaker operating under difficult conditions at the height of his considerable powers, not to mention the Brando superego he sought to somehow encourage, flower, sustain and quell simultaneously. It's among the great American union pictures for me, alongside Richard Fleischer's agricultural nightmare 'Mr Majestyk' (1974), Paul Schrader's automotive assembly choker 'Blue Collar' (1978), Martin Ritt's textile factory expose 'Norma Rae' (1979), Mike Nichols' plutonium plant processor 'Silkwood' (1983), Christopher Guest's SAG card satire 'The Big Picture' (1989) and Steven Soderbergh's independent case study 'Erin Brockervich' (2000). Elia Kazan was a brilliant filmmaker who created iconic assembly and seemed to define gothic decay and casual distrust for a generation.