Terry (OS): “Edie! Edie!”
Edie: “Stay away from me!”
Terry (OS): “Edie!”
Isn’t it nice that directors actually made use of wide shots back in the day? It seems like almost every scene nowadays – confrontational or otherwise, is done using close-ups.
Terry (OS): “Come on, Edie! Open the door!”
Edie: “Stop it!”
And, he barges in...
Edie: “I want you to stay away from me.”Maybe it’s that line, but I always think of this part of the scene in conjunction with that other movie with a similar lover’s quarrel then reunion (this time Natalie Wood and Richard Beymer).
Terry: “I know what you want me to do, but I ain’t gonna do it, so forget it!”Brando covers a lot of ground in this movie, and it’s my performance of his – but gun to my head, I’d probably choose this scene as an encapsulation of why like him here.
Edie: “I don’t want you to do anything.”
And, you wouldn’t think it’d be a fair argument – but Eva is so fearless even in her delicateness...
Edie: “You let your conscience tell you what to do!”
Don’t you just love how that significant line is juxtaposed with the image of the cross which seems to sort of pop out from nowhere? Not overt, but still striking.
Terry: “Shut up about that conscience! That’s all I been hearing!”
(Doesn’t he look the slightest bit like a young Justin Chambers there?)
Edie: “I never mentioned the word before. You stay away from me!”
Terry: “Edie, you love me! I want you-”
I just love how this scene is shot, though; I’m a big Kazan fan so that’s not surprise.
Edie: “I didn’t say I didn’t love you, I said stay away from me!”
Terry: “I want you to say it!”
Edie: “Stay away from me!”
Voice (OS): “Hey, Terry!”
Love that expression on her face, above.
Voice (OS): “Hey, Terry! Your brother’s down here and he wants to see ya.”
Voice (OS): “Hey, Terry! Your brother’s down here!”
And, another great shot above. I love that you can only barely make out Terry’s silhouette, and Edie’s stance there is so telling.
Voice (OS): “Come on down, he wants to see ya.”
So much subtleties there, Terry seems like he’s locked in a jail, and clothes on a line have never seemed so foreboding.
Voice(OS): “Come on down.”
Edie: “What is it?”
Terry: “Charley. I think he’s in trouble.”
Edie: “Be careful!”
The use of the wide-shot is almost foreshadowing in its use, and Kazan is always so smart about these things. This entire scene is marked by the tension, and it’s as if even when they’re alone Edie and Terry are still in danger – as if someone’s watching.
Voice (OS): “Your brother’s down here!”
Woman: “You hear what I hear?”(I always wonder how much this woman was paid, I think it's Anne Hegeira. My mind always goes to the weirdest things.
Edie: “Terry!”And, down Edie comes...
Woman: “That’s the same way they called Andy the night I lost him.”(Talk about unnecessary warnings, eh?)
Woman (OS): “Edie, be careful!”
In another situation that light on Edie would be almost heavenly.
Well, of course you can’t actually hear it – but that’s the sound of a vehicle that makes Terry turn around which segues into Edie...
Terry: “Edie, watch out for that truck!”
My favourite shot of the scene above: FYI.
The absence of dialogue as Terry looks out only makes the impending discovery more striking.
As the vehicle moves we see...
...a figure hanging on the wall...
And, now Brando looks like Beatty with that expression on his face.
Now, that’s a good use of close-up – unsettling, there’s something insulting about hanging a corpse like that.
I’m so impressed with Eva here because it’s easy for her presence to seem superfluous, but Kazan isn’t interested in focusing on Terry. She’s there for a reason, and Saint has the difficult task of showing emotion to the death of a man she knows little of. She doesn’t mitigate her fear, her confusion or even the numbness – she’s been through this before.
It’s an emotional scene, but Kazan never exploits it
That expression there is just perfect in its nakedness. One can only imagine what’s running through Edie’s head.
Terry: “They got Charley.”
Edie: “Terry, I’m frightened. Let’s get out of here, please.”
Terry: “First Joey, and then Duggan and now Charley and then...Come on, who’s not flashing to “Somewhere” at that line?
Edie: Please Terry, someplace where we can live in peace.”
Terry: “I’m gonna take it out on their skulls.”
Terry: “I’m gonna take it out on their skulls!”
Edie: “Please, Terry. They’ll kill you too!”
Terry: “Go, get the father. Tell him to take care of Charley...”
Terry: “...then come on back here and stay with him till he gets here.”
Edie: “Terry, please don’t do anything. Please!”
Terry: “For God’s sake! Don’t leave him alone here long”This is such a profound line. I don’t know what it is about Brando, he’s so deliberate but I never find him overly precise like other actors he’s often compared to (like DeNiro, for example).
Edie: “Please, Terry.”
Terry: “Do what I tell you.”
There’s that light again, and it feels obtrusive somewhat. You’d expect light to be welcome at a time like this, but here it just feels garish.
God, I love Kazan (and Brando and On the Waterfront and Eva Marie Saint too). Sigh.
Too much priaisng of the wideshotS? This isn’t exactly the optimum scene for a Sunday rest, but what do you think of it (or Eva or Brando or On the Waterfront)?