Extended Answer Questions

1. Terry Malloy becomes a witness against his former friends. In some circumstances, such a person might be called a “whistle-blower,” or a “stool pigeon;” yet most viewers see Terry as a hero. How would you describe him? Where do you draw the line between group loyalty and social responsibility?

2. Early in the film, Terry describes his philosophy of life to Edie: “Do it to him before he does it to you.” Where else does he articulate the code he lives by? At what point does he begin to question it? Why?

3. On the Waterfront is also a love story. Trace the relationship between Terry and Edie. What do they see in each other? What do they give one another? What are they left with in the end?

4. Kazan made On the Waterfront in New York and New Jersey, not Hollywood, because he wanted “contact with reality.” How successful was he in capturing the authentic feel of life in the docks? What contributes to the film’s realism? Consider locations, camera work, dialogue and style of acting.

  

5. While On the Waterfront is widely noted for its realistic qualities, there are symbolic touches throughout the film. Consider the pigeons, the stevedore’s hooks, and the platform on which Father Barry rises with Kayo’s body from the hold. What might these things represent? Do their symbolic functions detract from the film’s realism, or do they add something important?

6. The last words of the movie are Johnny Friendly: “I’ll be back.” What do you think he means? Considering his threat, how optimistic is the ending?