My name is Salik Waquas, and I am a filmmaker and colorist owning a post-production color grading suite. Over the years, I have immersed myself in the art of visual storytelling, exploring how cinematography shapes narratives and evokes emotions. One film that has particularly inspired me is Elia Kazan’s 1954 classic, “On the Waterfront.” The cinematography of this film, masterfully crafted by Boris Kaufman, stands as a testament to the power of visual language in cinema. In this article, I delve into the cinematographic elements that contribute to the film’s enduring impact, offering my personal insights and reflections.
About the Cinematographer
Boris Kaufman was a cinematographer celebrated for his versatility and depth. Born into a family of filmmakers in Poland and later educated in France, Kaufman brought a unique vision to his work. His European sensibilities, shaped by his roots in French filmmaking and documentary cinema, allowed him to craft visuals that echoed gritty realism while maintaining a poetic undertone. Before transitioning to Hollywood, Kaufman honed his craft in France, contributing to masterpieces like Jean Vigo’s “L’Atalante.”
His ability to seamlessly integrate the emotional tone of a narrative into his cinematographic choices is evident in his later works, including “12 Angry Men.” With “On the Waterfront,” Kaufman demonstrated a remarkable capacity to balance technical precision with emotional storytelling, a feat achieved under challenging on-location conditions and multiple aspect ratio demands. His work on this film remains a benchmark in cinematic storytelling, setting a standard for how cinematography can elevate a film’s thematic essence.
Inspiration for the Cinematography of “On the Waterfront”
“On the Waterfront” was a groundbreaking project, arriving at a time when Hollywood was undergoing a dramatic shift. The collapse of the studio system and the rise of independent producers created fertile ground for experimentation. Director Elia Kazan sought a visual style that complemented the film’s stark social realism and moral complexities. For Kaufman, the inspiration lay in using the camera to mirror the internal struggles of the characters and the grim reality of the waterfront laborers’ lives.
Kaufman’s documentary background played a crucial role in shaping the film’s aesthetic. He drew inspiration from Italian Neorealism, emphasizing naturalistic lighting and on-location shooting to enhance authenticity. This approach allowed the film to portray the harsh realities of dockworker life with unflinching honesty. Kazan’s resistance to the then-novel Cinemascope technology, which emphasized grandiosity, reflected his commitment to authenticity. Instead, the film embraced a simpler widescreen format (1.85:1), ensuring the visuals served the story’s emotional core rather than overshadowing it.
Camera Movements Used in “On the Waterfront”
The camera movements in “On the Waterfront” are deliberate, reflecting the psychological and moral turmoil of its characters. Kazan and Kaufman avoided excessive movement, favoring controlled, almost static frames that allowed the audience to absorb the raw performances. The film employs a range of camera movements to convey emotion and narrative progression.
Handheld shots are used to create a sense of immediacy and tension, particularly in scenes depicting conflict or inner turmoil. For instance, on-location shooting required adaptive techniques, with the camera often handheld or mounted on lightweight rigs to navigate cramped spaces and unpredictable environments. This added a sense of authenticity, immersing viewers in the world of the docks.
Conversely, static shots are utilized to underscore moments of contemplation or resignation, allowing the audience to engage deeply with the characters’ experiences. In the iconic taxi cab scene between Terry Malloy (Marlon Brando) and his brother Charlie (Rod Steiger), the camera remains intimate and restrained, focusing on their faces and subtle gestures. The close framing amplifies the emotional intensity, emphasizing Terry’s internal conflict and vulnerability. Kaufman’s use of subtle pans and tilts in other scenes mirrors the shifting power dynamics and moral dilemmas faced by the characters.
Compositions in “On the Waterfront”
Kaufman’s compositions are meticulously crafted to reflect both the physical and emotional landscapes of the characters. He often frames characters within confined spaces or uses leading lines to draw attention to their isolation. The film’s use of multiple aspect ratios (1.33:1, 1.66:1, and 1.85:1) allowed for varied framing possibilities.
In the full-frame (1.33:1), the compositions are looser, emphasizing the environment and the oppressive world surrounding the characters. The grays of the docks, rooftops, and city streets mirror the moral ambiguity of the narrative. Conversely, the 1.85:1 format creates tighter, more intimate frames, drawing attention to the actors’ faces and emotions.
Kaufman often placed characters in the center of the frame, highlighting their isolation. In scenes on the rooftop, Terry is frequently framed against a vast, gray sky, symbolizing his existential struggles. The compositions also use vertical and horizontal lines—created by fences, ropes, and dock structures—to suggest entrapment, reinforcing the film’s themes of moral and social confinement.
Lighting Style of “On the Waterfront”
The lighting in “On the Waterfront” is characterized by its stark contrasts and strategic use of shadows, reminiscent of film noir. Kaufman employs low-key lighting to create a somber mood, reflecting the oppressive atmosphere of the docks. This chiaroscuro effect not only enhances the film’s dramatic tension but also serves to underscore the moral ambiguity faced by the protagonist.
Shadows dominate many scenes, visually representing the characters’ internal conflicts and the pervasive corruption of their environment. The interplay between light and shadow is particularly effective in the bar scenes, where dim lighting and pools of brightness create an atmosphere of secrecy and danger. Similarly, outdoor scenes use natural light to emphasize the cold, harsh reality of the docks.
Kaufman’s approach to lighting enhances the realism of the narrative while maintaining a cinematic intensity. His use of low-key lighting in moments of introspection, such as the taxi cab scene, isolates the characters in their moral dilemmas, drawing the viewer deeper into their psyches.
Lensing and Blocking of “On the Waterfront”
The choice of lenses in “On the Waterfront” was integral to its visual storytelling. Kaufman used lenses that provided a natural perspective, allowing the audience to feel like participants in the narrative rather than observers. Wide-angle lenses were employed to capture the expansive yet claustrophobic environment of the waterfront, while longer lenses created intimate close-ups that conveyed the raw emotion of the characters.
Blocking was equally meticulous. Kaufman and Kazan choreographed the actors’ movements to align with the film’s themes. The blocking of actors within the frame is carefully orchestrated to convey power dynamics and relationships, with characters positioned to reflect their social standing or emotional state.
For instance, Terry’s positioning within the frame often reflects his moral journey. Early in the film, he is frequently shown in enclosed spaces, symbolizing his entrapment by the mob. As he begins to confront his conscience, the blocking becomes more dynamic, with Terry stepping into open, unguarded spaces. This deliberate positioning underscores his evolving sense of agency and moral awakening.
Color of “On the Waterfront”
Although “On the Waterfront” was filmed in black and white, its use of grayscale is as expressive as any color film. The film’s grayscale palette is manipulated to emphasize textures and contrasts, enhancing the gritty realism of the setting. Kaufman manipulated tones to reflect the emotional tenor of each scene.
The absence of color serves to strip away any romanticism, focusing instead on the raw humanity of the characters. The nuanced use of shadows and highlights adds depth to the imagery, contributing to the film’s immersive quality. This visual austerity complements the film’s themes of redemption and sacrifice, reinforcing its gritty realism.
Technical Aspects of “On the Waterfront”
From a technical standpoint, “On the Waterfront” pushed the boundaries of 1950s filmmaking. The film was shot using Arriflex 35mm cameras, known for their portability and versatility, which facilitated on-location shooting in the bustling environment of the New York docks. The film’s use of multiple aspect ratios required Kaufman to meticulously compose each shot, ensuring it worked across different formats.
The innovative “shoot-and-protect” approach meant framing scenes to accommodate both widescreen and full-frame projections, a challenge Kaufman navigated with remarkable precision. A variety of lenses were employed to achieve the desired visual effects, with a preference for wide-angle lenses to capture the expansive settings and deep focus shots.
On-location shooting was another technical feat. Working in harsh weather conditions and cramped urban settings demanded a flexible, adaptive approach. Kaufman’s use of lightweight cameras and mobile rigs allowed for greater freedom of movement, capturing the authenticity Kazan envisioned.
The sound design, featuring Leonard Bernstein’s score, complements Kaufman’s visuals. Bernstein’s bombastic, emotional music underscores the tension and drama of the story, while naturalistic soundscapes ground the film in its gritty reality.