On the Waterfront "Famous Speech".

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        This particular scene, is regarded universally as one of the most profound and masterful scenes in cinema history. No individual aspect can be given the credit for making it what it is; it is a combination of many elements that accentuate each other beautifully to create this stunning piece of cinematography.

Upon first impression, it may appear to the audience as any normal, run of the mill scene. However if inspected and analyzed more closely, it’s true beauty and power become evident. The scene has been dubbed, the “I could have been a contender speech” and from its title, we see that the dialogue which takes place cannot be a normal one, but one that is much more profound. It is indeed the conversation that takes place between the two brothers that brought it it’s fame, but, as previously stated, the beauty and power of the dialogue would not have been as pronounced without the combination of the camerawork and setting all working together harmoniously to create this scene.

The setting of the scene is anything but stunning. It takes place in the back seat of a typical cab of the times. Only a driver, Charlie, and Terry are present however the driver does not come into the picture until later on. No distractions or background elements are in use here, the back window is covered by a blind, and the only thing that is used to maintain the realism of being on the road is the occasional shaking of the car, and the light from street lights which gradually fades away as the car travels on. The cab itself is a very symbolic element. It is a chauffeur driven cab, it’s exterior is painted black as the night through which they travel, the interior is of plush cream-coloured leather, and the main passengers are Terry, the ex-mafia man, now trying to escape from its grasp, and Charlie, the Mafioso, sent to bring his brother back to the mob, or eliminate him. Each of these three elements of the car represent something. Its exterior colour represents the evil within which the mafia operate, evil, the night, surrounds the car. Unlike the exterior however, the interior is lightly coloured leather, the plush and wealthy surrounding within which the mafia thrive, the colours of inside and out completely opposing each other. The rear window is covered with a Venetian blind, the mafia choosing not to take into account the damage they leave behind. Finally, the fact that the car is chauffeur driven reflects the way the mafia is run; with one person at the head, choosing which route to take and his cronies simply following his lead with little or no influence on the boss’ decisions.

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The camera work in this scene accentuates the dialogue and forces us to focus on the two characters that are present, as we have little else to look at. Unlike many of the other scenes in “On the Waterfront”, the camera barely moves at all, but instead keeps both of the conversationalists participating in the shot at once. This cleverly eliminates the need to switch the camera from person to person for two important reasons. The first is that by keeping the camera still, with little distraction or other interesting elements to observe, the audience’s attention is focused on the ...

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