Sep 03 2012

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The moral and artistic muddle of On the Waterfront—its combination of canny self-justification of what did happen, and stark, foregrounded and probably unintended guilt over what should have happened—ultimately works in the movie’s favor, merging into a story not beholden to any particular political reading, and letting the film transcend its origins in the filmmaker’s own lives and become archetypal, universal.
Matt Zoller Seitz