By Budd Schulberg
Schulberg's acclaimed and bestselling novel, in response to a vintage of yankee cinema
In 1955, Budd Schulberg tailored his Academy Award–winning screenplay into a thrilling novel. Suspenseful and emotional, the unconventional provides a extra complex—and might be bleaker—portrait of ex-boxer Terry Malloy's corrupt and stunted global at the docks of Hoboken. Narrated by means of Father Pete Barry, the radical shifts concentration to the brave priest who stands as much as the Mob, in addition to his personal church, for you to redeem the souls of his hardscrabble and unloved constituents.
On the Waterfront is a powerful retelling of an iconic American tale that stands aside as an unforgettable imaginative and prescient of crime, politics, and sophistication within the 20th century.
This publication beneficial properties an illustrated biography of Budd Schulberg together with infrequent pictures and never-before-seen records from the author's property.
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Extra resources for On the Waterfront: A Novel
Classical music – not rock-and-roll – provides a background throughout the film. Purcell, Rossini, Elgar, as well as Beethoven, accompany Alex throughout his acts of “ultraviolence,” except when he sings “Singin’ in the Rain” as he maims the writer and forces him to watch the rape of his wife [Fig. 4]. The civility of the classical score, and the movie tune we all love, is used to surround the brutality of the modern world, much as the Nazis used classical music to mask their violence. It also allows us to reflect on the bizarre contradictions of Alex’s character and echoes the symmetry of the narrative, which presents an artificial construct of rise, fall, and resurrection.
Beethoven provides the crucial password that enables the hero of Eyes Wide Shut to enter the orgy that is one of the central scenes in the film. Kubrick draws ironically on the title of Beethoven’s opera “Fidelio, or Married Love” (“Fidelio, oder Die Eheliche Liebe”) for his password. See also my essay on “The Dream-Odyssey of Stanley Kubrick” in a forthcoming issue of Cadernos de Traduc˜ ao. ), Backstory 3: Interviews with Screenwriters of the 60s (Berkeley, CA: University of California Press, 1997, p.
What was the moral of this film? Was it moral? What were the politics of those praising or condemning the film? What are the responsibilities of a filmmaker? 6 Kubrick was particularly reacting to Fred M. Hechinger, who had charged that an “alert liberal . . 7 By the end of the first year of its release, a third line of attack opened on A Clockwork Orange. The film was accused of misogyny. S. 9 That they would be the staging grounds for a cult viewer’s attraction to the film is also apparent. Precisely how these themes organized themselves in the debates is important to examine, however, for they take on a flavor peculiar to the circumstances of the era.