How does Kazan create tension and suspense in On the Waterfront?
How does Kazan create tension and suspense in On the Waterfront?
On the Waterfront, directed by Elia Kazan in 1954, portrays Terry Malloy, the protagonist of the film, who goes on a journey to redeem himself for the murder of Joey Doyle. Terry, a former prize fighter, could have been a “contender” but now is a “bum” under the command of Johnny Friendly, a corrupt union boss. Throughout Terry’s journey, the director uses various methods to create tension and suspense in some of the scenes. Joey’s death utilises different shades of lighting and music, to leave the audience guessing what Joey’s ultimate fate will be. In one scene, the rhythmic beating of the sticks combined with the accompanying music; create an impression of chaos and suspense around the secret meeting held at the “bottom of the church” as it is being invaded. Kayo’s death hangs directly above him, as the audience wait for the mob to carry out his “crucifixion”. A rather peaceful and emotional cab scene between the two brothers changes, as a different style of music is used. The mood of the scene shifts in response to the change in music.
In the beginning of the film, when Terry goes to lure Joey Doyle out from the safety of his apartment to the exposure of the roof, there is a contrast in the shadows. The shadows represent the difference between good and evil. The majority of the screen is filled with dark spots and a contrasting bright spots against the wall. The camera is placed high up looking down on the lone Terry as he marches to his destination. Loud music of drums plays in the background like a heart racing. Through this Kazan creates suspense in the scene. The shadows set a grim feel to the scene, giving the impression that something bad may happen. The camera focusing on Terry combined with the marching music in the background creates tension within the scene as we wait for its crescendo. It makes him look mysterious as he is the lone, dark figure walking through the alley way. Terry
On the Waterfront, directed by Elia Kazan in 1954, portrays Terry Malloy, the protagonist of the film, who goes on a journey to redeem himself for the murder of Joey Doyle. Terry, a former prize fighter, could have been a “contender” but now is a “bum” under the command of Johnny Friendly, a corrupt union boss. Throughout Terry’s journey, the director uses various methods to create tension and suspense in some of the scenes. Joey’s death utilises different shades of lighting and music, to leave the audience guessing what Joey’s ultimate fate will be. In one scene, the rhythmic beating of the sticks combined with the accompanying music; create an impression of chaos and suspense around the secret meeting held at the “bottom of the church” as it is being invaded. Kayo’s death hangs directly above him, as the audience wait for the mob to carry out his “crucifixion”. A rather peaceful and emotional cab scene between the two brothers changes, as a different style of music is used. The mood of the scene shifts in response to the change in music.
In the beginning of the film, when Terry goes to lure Joey Doyle out from the safety of his apartment to the exposure of the roof, there is a contrast in the shadows. The shadows represent the difference between good and evil. The majority of the screen is filled with dark spots and a contrasting bright spots against the wall. The camera is placed high up looking down on the lone Terry as he marches to his destination. Loud music of drums plays in the background like a heart racing. Through this Kazan creates suspense in the scene. The shadows set a grim feel to the scene, giving the impression that something bad may happen. The camera focusing on Terry combined with the marching music in the background creates tension within the scene as we wait for its crescendo. It makes him look mysterious as he is the lone, dark figure walking through the alley way. Terry