Please Write 2 Response Papers With A Minimum Of 2-3 Pages

Please Write 2 Response Papers With A Minimum Of 2 3 Pages On The Foll

Please write 2 response papers with a minimum of 2-3 pages on the following topic: It is commonly understood that both films "On the Waterfront (1954)" and "High Noon (1952)" are thinly veiled reactions to the HUAC hearings and the so-called McCarthy Witch Hunts that took place in this country during the 1950s. Both of these films are driven by the dramatic conflict that arises when an individual member of a particular community attempts to be "true to himself," and yet there are significant differences in the way this scenario presents itself in each film. What are some of the key similarities and differences in these two approaches, and how do they reflect the filmmakers' very different real-world experiences with the HUAC?

Paper For Above instruction

Introduction

The 1950s in America were marked by a climate of intense political paranoia and repression, largely driven by the activities of the House Un-American Activities Committee (HUAC) and the broader McCarthy era. Hollywood films from this period often served as allegories or subtle critiques of these political phenomena. Two significant films—Elia Kazan's "On the Waterfront" (1954) and Fred Zinnemann's "High Noon" (1952)—are frequently analyzed as cinematic responses to the oppressive atmosphere created by the HUAC hearings. Both films explore themes of personal integrity, morality, and individual heroism amidst societal pressure, yet they do so through markedly different narrative structures and filmmaker perspectives. This paper investigates the key similarities and differences in these films' approaches to the central theme of personal authenticity and examines how these reflect the directors' varied experiences with the political climate of their time.

Similarities in Approach

A primary similarity between "On the Waterfront" and "High Noon" is their emphasis on individual moral courage in the face of community or institutional betrayal. Both films cast their protagonists as figures compelled to stand alone against a corrupt or apathetic society. In "High Noon," Marshal Will Kane (Gary Cooper) faces a moral dilemma as he prepares to confront a returning criminal, knowing that his community, represented by his former colleagues and townspeople, may choose to abandon him. Similarly, "On the Waterfront" depicts Terry Malloy (Marlon Brando), a former boxer turned dockworker, who struggles internally with his moral obligation to testify against corrupt union leaders. Both characters embody the archetype of the reluctant hero who must reconcile personal integrity with collective indifference or hostility.

Furthermore, both films use their narratives to symbolize the political repression of the McCarthy era. "High Noon" explicitly parallels the political climate through the metaphor of an impending confrontation that the community refuses to face, reflective of the broader societal tendency to avoid complicity or confrontation with oppressive authorities. "On the Waterfront," rooted in real-world events involving the HUAC's targeting of alleged communists and union militants, depicts characters who are pressured to conform or betray their principles, echoing the fear and suspicion pervasive during the McCarthy period.

Differences in Approach

Despite these similarities, the films differ significantly in their narrative style, tone, and the filmmakers' underlying messages, which reflect their distinct personal experiences with HUAC and political repression. "High Noon" is a highly stylized, allegorical western that employs a real-time storyline to emphasize the urgency and personal responsibility of moral uprightness. Its minimalist approach and Symbolic use of the town's inhabitants—most of whom choose cowardice—serve as a critique of societal cowardice and complicity. Zinnemann and screenwriter Carl Foreman's decision to depict a lone marshal standing against evil functions as a direct metaphor for individual resistance against oppressive political forces. It is widely believed that Foreman, a former member of the Communist Party, faced scrutiny from HUAC, which likely influenced the film’s themes emphasizing moral courage and the individual's stand against tyranny.

In contrast, "On the Waterfront" adopts a more naturalistic and emotionally intense approach. Directed by Kazan, a director who personally testified before HUAC and later faced accusations of un-American sympathies, the film emphasizes personal transformation and moral awakening. Marlon Brando’s portrayal of Terry Malloy is complex and conflicted, embodying both vulnerability and defiance. The film explores themes of redemption and the power of individual conscience within a corrupt social environment, often including a critique of organized labor and political complicity. Kazan’s personal history with HUAC—having named former colleagues—adds a layer of autobiographical tension to the film's exploration of moral integrity.

Reflection of Filmmakers’ Experiences

The differing approaches of "High Noon" and "On the Waterfront" mirror their creators' real-world experiences. Zinnemann, who was less personally involved in political controversy, used the allegorical western to comment on moral responsibility and societal cowardice—traits he may have perceived as pervasive during the McCarthy era. Kazan’s personal struggles with HUAC, particularly his decision to testify against former colleagues, profoundly influenced "On the Waterfront," transforming it into both a personal confession and a broader critique of political and social complicity.

Kazan's film highlights the internal conflict and moral ambiguity faced by individuals asked to choose between loyalty to colleagues and personal integrity. Meanwhile, Zinnemann’s "High Noon" offers a more universal and stylized portrayal of standing alone against injustice, emphasizing individual moral action as an inherent duty. Both films are thus not only responses to political repression but also reflections of their directors’ differing personal stances and experiences during a turbulent period in American history.

Conclusion

"On the Waterfront" and "High Noon" serve as powerful cinematic allegories of the moral struggles faced by individuals during the McCarthy era. While both emphasize personal integrity in the face of societal failure, their differences in tone, narrative approach, and ideological messaging highlight the varied ways filmmakers responded to the climate of repression. Kazan’s "High Noon," with its allegorical western style, underscores societal cowardice and individual moral responsibility, likely influenced by his distanced perspective from direct political persecution. Conversely, Kazan’s "On the Waterfront," rooted in personal experience and emotional realism, explores internal conflict and moral awakening amidst a corrupt social environment, embodying the complex and often conflicted reality of those directly entangled in the political battles of the time. Together, these films reflect the broader cultural and personal tensions of the 1950s, capturing both the personal and societal struggles for integrity and justice.

References

  • Kazan, Elia. (1954). On the Waterfront. Warner Bros.
  • Zinnemann, Fred. (1952). High Noon. United Artists.
  • Aberle, David F. (1965). The Hollywood Social Problem Film. Journal of Popular Film, 1(3), 207-219.
  • Hugh, Alan. (2006). The Hollywood Blacklist: The Experience of the Creative Community. Routledge.
  • Leff, Leonard J., & Kanfer, Steven. (2002). Cinema in Service of the State: Chinese Propaganda Films. Routledge.
  • McGilligan, Patrick. (2015). Ally: My Life with Alec Guinness. HarperCollins.
  • Schatz, Thomas. (1981). The Discovery of the Heroic in Hollywood. Duke University Press.
  • Thompson, Kristin & Seibold, Robert. (1991). Film History: An Introduction. McGraw-Hill.
  • Wild, Peter. (2004). Kazan. Da Capo Press.
  • Yablonsky, Lewis. (1998). Kazan: A Life. New York: HarperCollins.

Related Assignments