Panorama desde el puente

I saw this when it was first released, but I've never seen it since, not even on Turner or AMC. I'd love to know why it sank out of sight. Perhaps because Raf Vallone was virtually unknown in the USA? (Maybe if it had starred Van Heflin, who originated the lead role on Broadway.) I am glad to see a new production of it is underway. With Miller's recent death, maybe it will attract the attention it deserves as Miller's homage to Greek tragedy adapted to the lives of "ordinary" working people and to modern stagecraft. After more than 40 years, I finally saw a stage production last night, by the University of Oregon Theater Arts Dept. For a college production it was more than adequate, despite the awful acoustics of their theater. The young actor who played Eddie Carbone was quite good. But it whetted my appetite for a professional production. It's available in VHS on Amazon, but I don't want to buy it, just watch it.

I just saw this excellent movie in a crappy DVD transfer, actually a DVD-R. It is also available on YouTube. As far as I can see it's the only version available in English at this time and there is no one in French although the movie was apparently shot also in French for the European market.

The setting of the Arthur Miller play in the docks may be surprising at first but it works, allowing parts of the story to take place in outdoors. One can recognize the director's legendary ability with the comedians. They look and sound so naturel that you could believe they have never played another role in their career. The dramatic tension reaches a peek in the third part of the movie. I was riveted to my TV set despite, again, the lousy quality of the support.

Although directed by American Sidney Lumet and shot on the Brooklyn docks in Red Hook, A View From The Bridge is a French production with some shooting in Rome. My guess is that Arthur Miller couldn't get the financing here and next to On The Waterfront, A View From The Bridge looks kind of cheap. It sure has an international cast though.

Raf Vallone stars as Eddie Carbone a veteran dock worker who lives with wife Maureen Stapleton in Red Hook near his work and their niece Carol Lawrence who made her big screen debut here. As is apparently the custom they help out friends and family from the old country which in this case is Sicily. French players Raymond Pellegrin and Jean Sorel are brothers and related distantly to the Carbones. They arrive here like so many other illegals looking for work, maybe to send money back home like Pellegrin does for his family. Or like Sorel he wants to immigrate here permanently.

The attraction between Sorel and Lawrence is instant. Always in the back of your mind is that Sorel is thinking this is a fast track to citizenship. But it's in the front of your mind that Vallone is building up an unreasoning hatred of Sorel because of his attraction for his niece. Lawrence either is naive or just puts it out of her mind, but Stapleton is seeing it all too clear.

When Budd Schulberg wrote On The Waterfront, part of it was an expiation and justification of Schulberg being a friendly witness at the House Un American Activities. Miller was a most unfriendly witness and his play on the docks affirms the code that stool pigeons are the lowest form of life.

A View From The Bridge was done on Broadway with Van Heflin playing Eddie Carbone. I would like to have seen him doing it as Heflin was one of the best and most under-appreciated actors around. But you can't deny that Raf Vallone authentically Italian is just great in this role.

Sidney Lumet who seemed to shoot all of his films in the city he loved shows a different and at times terrifying side of New York. A View From The Bridge could use a remake, especially with the topic of immigration reform center stage among issues now.

Eddie Carbone (Raf Vallone) a dockworker on the Brooklyn Navy yard accepts his wife's two cousins into his home so they may work and earn enough to return to Sicily prosperous. However when the younger brother Rodolpho (Jean Sorel) gets cozy with Eddie's beloved niece sparks fly and tragedy ensues.

Having never seen the original Miller play on which this is based I cannot compare this 1962 film adaptation by Sidney Lumet but from the film alone I can say it is quite an achievement. The low budget is obvious and many a time one feels as if they are watching an old television movie. But at the same time it adds another layer to the raw atmosphere of the piece. This is the Brooklyn of the 1950s where many struggle for a meager wage and are bound to the docks. Only culture and their traditions keep them alive and this film captures it all.

The cheap look also puts more emphasis on the actors to give their best and boy do they deliver, I could not account for 1 bad performance in this film with the leads routinely strong, particularly Vallone adding an authentic Italian touch, to the extras dotted with many true blue New York blue collar actors like Frank Campanella and Vincent Gardenia.

Being from an Italian family I can say this film captures many of the eccentricities and machinations of an Italian household from the dominant masculinity to family talks and fruit at the end of the meal. Lumet captures the cramped atmosphere so reminisced and glorified in many homes but here turned cold and repugnant due to the material of the piece. The film brilliantly draws the contrast between the old world Italian immigrant mindset of making and saving to go home (as expressed in the brother Marco in his strictly workman's cloths) and that of the younger, new immigrants who come to America to look for opportunity and pleasures not found at home (as expressed in Jean Sorrel with his bolo tie and Texas shirt). The film deals with old world adapting to new world in a larger passion play of lust and betrayal with emotions so sustained that shift to become so open and raw one is left gasping.

Just goes to show what can be accomplished with good actors and a fine director, another under regarded jewel in Sidney Lumet's crown.

This play by Arthur Miller was filmed by Sidney Lumet in France, but why? Lumet brings us the gritty and dark world of immigrant longshoreman Eddie Carbone (Raf Vallone) and his family ... wife Maureen Stapleton and her niece Carol Lawrence. Carbone is involved in illegally bringing two Italians (cousins of Stapleton) into the US and getting them jobs on the wharfs of New York City. But something goes very wrong when the younger man (Jean Sorel) starts to get involved with Lawrence and Carbone's jealousy and lust for the girl come to the surface.

All the main characters live in a small and squalid apartment, the perfect setting for the pent up lust and anger that fuels the actions of the characters. The more Carbone lusts for the girl, the more he despises the young Italian and his "foreign" ways, hinting at his homosexuality because he is blond and likes to sing.

Vallone is superb as the volatile and treacherous Eddie Carbone who finally is consumed by his raging passions. Stapleton is solid as the aggrieved wife who remains loyal even as she slowly begins to understand her husband's actions. Jean Sorel is terrific as the young Italian as is Raymond Pellegrin as his older brother.

The real surprise here is Carol Lawrence as young Catherine. Generally considered a musical performer (WEST SIDE STORY), she turns in an amazing performance the innocent girl who finally comes of age.

Co-stars include Morris Carnovsky as the compassionate lawyer, Vincent Gardenia as the grocer, Harvey Lembeck, Frank Campanella, and Mickey Knox as co-workers.