Move#34: Shane. Or really, I accidentally deleted this post.

I accidentally deleted this post, and that makes me sad. I didn't like this movie, however. So I don't want to bother with rewriting about it. I don't really like Westerns, and this one was a tough one for me to get through. Beautiful filmmaking, though.

Movie #35: On the Waterfront. Or really, standing up to the man.

Title: On the Waterfront

Starring: Marlon Brando, Eva Marie Saint, Karl Malden

Directed by: Elia Kazan

Year: 1954

Number on the AFI List: 19

"You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am."

Y’all, this movie is FANTASTIC. I’ll be thinking about this one for a while. The cast, the story, the cinematography, everything about this movie worked together beautifully. I would expect nothing less from the great Elia Kazan! On the Waterfront is about Terry (Marlon Brando), a longshoreman/former prize-fighter, who works for the union bosses in their schemes to keep control of the workers (i.e. kill people). He slowly begins to see the light through the help of a priest, Father Barry (Karl Malden), and the sister of one of the men killed, Edie Doyle (Eva Marie Saint). Should Terry remain loyal to the union gang in order to keep him and his family safe? Or should he do what is just? These questions and themes not only take place in Terry’s life, but in the life of Father Barry. Father Barry wakes up to his own hypocrisy early on in the film, after Edie points out that his rightful place is doing justice on the streets, not hiding inside his church. Once he wakes up to this, he is risks his own life in order to stand up for what’s right, and encourages Terry to do the same. Now that I’m writing this, I’m afraid the plot sounds cliché. I promise you, this movie is far from it.

Beyond that, realism is slowly starting to set in for film actors during this time, which makes for very moving yet subtle performances from the entire cast. I have to really hand it to Eva Marie Saint; she carried herself so well opposite Marlon Brando that there were times when I thought the movie was about her. This movie went on to in eight academy awards, including best picture, and it deserved every one of them. 

Favorite moment: Father Barry’s speech to the workers in the boat. So moving. So Christ-like."Some people think the Crucifixion only took place on Calvary. They better wise up!" "Boys, this is my church! And if you don't think Christ is down here on the waterfront you've got another guess coming!"

Will I watch it again: Yes, and with whoever wants to watch it with me!

Movie #33: High Noon. Or really, "24," western style.

Title: High Noon

Starring: Gary Cooper and Grace Kelly

Directed by: Fred Zinnemann

Number on the AFI List: 27

Year: 1952

Westerns seem to me to be the super hero movies of the past-one man, flawed yet strong, overcomes all inevitable odds to right the wrongs of injustice. I have to admit, I'm not the biggest fan. Gun slingin', chaps wearin', horse ridin' adventures just don't quite cut it for me. However, High Noon is a cinematic achievement, with compelling storytelling, beautiful cinematography, and great acting. This movie poses a lot of questions of what is just and how far does one have to go to maintain peace for his people (even when they don't want help), what sacrifices must be made, and how does one right the wrongs of one's past. I love the dichotomy from the beginning of the wedding of former Marshall Will Kane (Gary Cooper) and Amy Kane (Grace Kelly) while the "bad guys" are coming back to town to enact their revenge. The intensity builds over an hour while Will Kane tries to rally troops to help him fight the returning Frank Miller and his gang of roughriders to no avail. He sacrifices leaving for his honeymoon with his pacifist, quaker wife, in order to make sure the town he currently is no longer in charge of remains safe. Unfortunately, no one in the town stands by him, and this marshall has to fight the battle himself (...or does he?). 

The cinematography of this film is fantastic. Zinnemann creates the feeling of aloneness not only in Kane's circumstances but also in showing how "alone" this town really is-the train is coming from miles away with no other town in sight. Also, the most powerful shot of the movie is when Gary Cooper is alone, walking the street in the middle of town, with no help in sight, and the camera pans out ever so slowly to reveal just how deserted the town really is. 

Favorite moment: My favorite moment would ruin the movie, so I'll just give a screenshot of Gary Cooper walking in town:

Also, here's a picture of Grace Kelly with Fred Zinnemann. Cause why not?

Will I watch it again? Hmm...probably not.