Literary Genre (Leaving Cert English): Revision Notes

Literary Genre

1. Genre and Style

• On the Waterfront is a social realist drama with elements of crime, moral allegory, and redemption narrative.
• The story blends gritty urban realism with Catholic symbolism, drawing on the conventions of both film noir and post-war social commentary.
• It follows a classic redemption arc: Terry begins as complicit and morally compromised but ultimately becomes a symbol of courage and justice.
  • Terry's journey mirrors a biblical transformation, shaped by suffering, moral awakening, and sacrifice.
  • The story's allegorical undertones reflect broader post-war American anxieties around guilt, betrayal, and the cost of silence.

2. Symbolism and Motifs

Symbol	Meaning
Joey's Jacket	Worn by Joey, then Kayo, and finally Terry, the jacket symbolises moral courage and the passing of the whistleblower mantle. Each man who wears it stands up against corruption.
The Pigeons	Terry's pigeons represent innocence and loyalty. Their killing later in the film (after Terry testifies) shows the cost of breaking group loyalty and how speaking out invites betrayal and isolation.
The Waterfront	The waterfront symbolises a world dominated by fear and silence, but it also becomes the site of spiritual awakening and transformation, especially through Father Barry's speeches.
The Taxi	In the "I coulda been a contender" scene, the taxi becomes a confessional space, representing both physical and emotional entrapment.
The Church / Ship's Hold	Spaces of moral confrontation and truth. When Father Barry declares the hold his church, the film signals that true faith is active, not hidden behind walls.

3. Cinematography and Visual Style

• Cinematography by Boris Kaufman (who won an Oscar for his work) creates a harsh, unglamorous atmosphere that reflects the bleak reality of life on the docks.

• The film uses real New Jersey dock locations, lending a documentary-style realism that enhances the authenticity of the characters' struggles. Lighting and Shadows (Film Noir Influence)

• The use of low-key lighting and deep shadows evokes the moral ambiguity of the characters and setting.

  • Terry is often shown partially in shadow, symbolising his internal conflict between loyalty and conscience.
  • Dark stairwells, alleys, and doorways reflect the oppressive and threatening world controlled by the mob. Close-Ups and Facial Expression

• The camera lingers on actors' faces, especially during key emotional moments.

  • In the taxi scene, a tight close-up on Terry's anguished face makes his pain visceral and unforgettable.
  • These close-ups humanise the characters and draw the audience into their emotional world. Framing and Physical Space

• Characters are often framed within confined or claustrophobic spaces — alleyways, small apartments, the hold of a ship — suggesting entrapment and lack of freedom.

  • Wide shots of the empty docks contrast with scenes of crowding and violence, highlighting both loneliness and fear. Use of the Urban Landscape

• The cityscape — with decaying buildings, fences, and fog — mirrors the decay of moral values and trust on the waterfront.

• The industrial setting reinforces the film's concern with working-class exploitation and powerlessness.

4. Sound, Music, and Editing

Sound and Dialogue

• Dialogue is often naturalistic and unpolished, capturing the working-class speech of the longshoremen.
• Silence is used strategically to heighten emotional tension — for example, in the scenes between Terry and Edie, or when Terry reflects on his guilt.
• The contrast between loud, chaotic dock scenes and quiet, intimate conversations reflects the tension between public violence and private conscience.

Iconic Lines

• The film's most famous line — "I coulda been a contender" — is delivered quietly and painfully, not with anger but with regret, making it even more powerful.
• Many other key lines (e.g. "I'm glad what I done") carry emotional weight through tone and delivery, showing Terry's inner transformation.

Musical Score (Leonard Bernstein)

• The score, composed by Leonard Bernstein, blends jazz, classical, and minimalist elements.
  • It begins with a sharp, almost chaotic flourish, reflecting the unrest and violence of the waterfront world.
  • As Terry's journey progresses, the music becomes more lyrical and mournful, matching his internal struggle.
• At key moments, the music swells dramatically, especially during Father Barry's sermon or Terry's final stand, giving the story an almost operatic weight.

Editing and Pacing

• The film's editing balances tension and emotional build-up, allowing important scenes to breathe.
• The taxi scene, for example, is tightly edited with close framing, keeping the focus on Terry's realisation and Charley's guilt.
• Violent scenes (e.g. Kayo Dugan's death, the final dock fight) are edited to feel abrupt and brutal, reinforcing the suddenness of danger.