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...playing three-dimensional chess with three different opponents. The three levels in this film are occupied by the Bible story of Cain and Abel, by John Steinbeck's recent novel (TIME, Sept. 22, 1952), which attempts to retell the eternal tale as a modern instance, and by Director Elia Kazan's effort to reconcile the spirit of both with his own sharp sense of the story's meaning and with the claims of commerce...

Author: /time Magazine | Title: Cinema: The New Pictures, Mar. 21, 1955 | 3/21/1955 | See Source »

...Waterfront. Elia Kazan's big-shouldered melodrama of dockside corruption; with Marlon Brando (TIME...

Author: /time Magazine | Title: Cinema: CURRENT & CHOICE, Jan. 17, 1955 | 1/17/1955 | See Source »

...Waterfront. Elia Kazan's big-shouldered melodrama of dockside corruption; with Marlon Brando (TIME...

Author: /time Magazine | Title: Cinema: CURRENT & CHOICE, Jan. 10, 1955 | 1/10/1955 | See Source »

...Waterfront. The year's best melodrama: Elia Kazan's tale of life and death among the longshoremen of New York Harbor; with Marlon Brando, Eva Marie Saint, Lee J. Cobb, Karl Maiden (TIME...

Author: /time Magazine | Title: Cinema: Choice for 1954 | 1/3/1955 | See Source »

...Beat the Devil, written by Truman Capote and shot in Italy, was a magnificent leg-pull: a kind of dipsoid tirade of brilliant comic invention, played with a cross-eyed, morning-after charm by a fine cast (Humphrey Bogart, Jennifer Jones, Robert Morley, Peter Lorre). On the Waterfront, Elia Kazan's burly piece of camereering along the docksides of Hoboken, had excellent photography, though the drama sometimes got out of emotional focus. But the meaning of it all came clear in Marlon Brando, who turned in what was surely the most capacious performance given by any actor during...

Author: /time Magazine | Title: Cinema: The Year in Films | 1/3/1955 | See Source »

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