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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.

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.

Based on a play by Arthur Miller, the film is very typical of its era (where many such classic plays were adapted for the screen) but also characteristic of director Lumet - who was constantly striving to push barriers (among the themes touched upon here are incest and homosexuality!) and always put his greatest emphasis on the acting. In fact, the cast here is an eclectic but surprisingly effective mix of American, French and Italian actors (though set in Brooklyn, the film was actually shot in France!) - with Raf Vallone especially impressive in his difficult role. The film's dock-side setting (gloomily photographed by Michel Kelber) recalls, to a certain extent, ON THE WATERFRONT (1954) - though this is more of a domestic melodrama; still, the final confrontation between Vallone and Raymond Pellegrin (with its tragic aftermath) reaches a fine pitch of tension.

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.

A View From The Bridge transcends its stage-play roots to give an earthy feel for its neighborhood and its neighbors. This is high praise considering the play is one of Arthur Miller's very best to begin with. The chemistry is devastatingly hot between Raf Vallone and his illicit love for niece Carol Lawrence who, at first admires him, but later turns on him with disgust. Maureen Stapleton is magnificent as Vallone's desperate wife. Vincent Gardenia is disarmingly young in an early role. The cinematography seems to peel the layers of this blue-collar area like an onion, and the score is simply perfect. A View from the Bridge is a neglected classic that needs to be restored to prominence.

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.

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.

I saw this film in Montevideo, Uruguay, back in 1962. It was a subtitled version with English and Italian language. Not a word in french. The players were Raf Vallone (Italian) and Jean Sorel (French, but usually working in Italian films). Both characters, were Italian immigrants living and working in the Port of New York, and the other players were naturally Americans, like Maureen Stapleton and Carol Lawrence (the Broadway star of "West Side Story" in a rare appearance in films). So, the picture looked like an American film, directed on location in New York by Sidney Lumet, but somehow is featured like a French-Italian movie. There must be a French dubbed version as well as an Italian one, but the international version was indeed an English language version known as "A View from the Bridge" and not at all "Vu du pont". It was a powerful Lumet film, well acted and correctly adapted from the famous Miller's play.

I just watched the film after not seeing it for more than 40 years. The screenplay, the acting, the B&W cinematography are excellent. All of the actors- lead and supporting are excellent, especially Raf Vallone and Carol Lawrence.

The only negative is not the film, but the quality of the VHS tape. Perhaps I shouldn't complain, since the video is listed as unavailable. I bought the tape, listed as new, from Movies Unlimited through Amazon. It presents the film in total, but there is bad static in certain places and the picture could have been sharper. Nevertheless, it is very worthwhile to buy.

Sparks fly when dock worker Eddie Carbone (Raf Vallone) rejects his loyal wife (Maureen Stapleton) while he desires their neice (Carol Lawrence) who is in love with an illegal immigrant (Jean Sorel). Filmed near the waterfront in Brooklyn, New York director Sydney Lumet captures the turmoil of a family torn apart from a story by Arthur Miller. All the players are excellent especially Mr. Vallone and Miss Stapleton. Unfortunately this film is no where to be found.Apparently it was also dubbed in French.

This comes from a particularly satisfying period in the career of Sidney Lumet. Based upon one of the masterpieces of American theatre, the exteriors are filmed in his beloved New York whilst the interiors are shot in France. It is a Franco-Italian production and having the three leading male protagonists speaking in broken English contributes immeasurably to the films authenticity.

It is pretty faithful to the original apart from the ending and in changing the role of the lawyer Alfieri from that of Greek chorus to the voice of reason. Longshoreman Eddie Carbone has no time for reason as he is ruled by the heart and not the head. Like so many tragic characters he is basically a decent man whose fatal flaw, in this case, his improper love for his teenage niece, destroys him.

Carbone here is played by ex-footballer Raf Vallone who belongs to that rare breed: a hunk who can act. He has given some strong portrayals in his time, notably in Dassin's 'Phaedra', but this powerhouse performance has it all and he is fully deserving of his David di Donatello award.

One of playwright Arthur Miller's favoured devices is to have what appears to be a happy domestic scene shattered by a catalyst which in this piece is the arrival of two of Mrs. Carbone's cousins from Italy. They are illegal immigrants but Eddie agrees to put them up and get them jobs on the docks. Tensions mount however as Carbone's beloved niece falls for one of them.......

The immigrants Marco and Rodolpho are played superbly by Raymond Pellegrin and Jean Sorel. This is, to my knowledge, Pellegrin's strongest role and Sorel of course was always underrated because of his impossibly good looks. Another performance to treasure is that of Carol Lawrence as the niece. An all round actress/singer/dancer she was denied the chance of reprising on screen her award winning stage role as Maria in 'West Side Story' and although on paper a wee bit too old for the part of Catherine, gives a magnificent performance. Sadly, this is her only film. As Mrs. Carbone we have the accomplished Maureen Stapleton, who combines strength and vulnerability. Mention must also be made of Morris Charnovsky as Alfieri. An excellent actor whose film career was scuppered after being 'named' by Elia Kazan to the HUAC.

Historically there is a strong connection between Kazan's 'On the Waterfront' and Miller's play, for those who care to look it up. Whereas in Kazan's film to inform is an act of heroism, here it is merely an act of betrayal.

Lumet's legendary skill with actors, Norman Rosten's screenplay, Michel Kelber's gritty cinematography and the beautifully understated score of Maurice Le Roux have given us a raw, stark, passionate, searing and visceral film which also seems to have served the playwright well. Let us hope Mr. Miller approved.

I've just recently read the text of Arthur Miller's "A View From The Bridge", both the one-act and two-act versions and couldn't think of a better director than Sydney Lumet to direct this movie adaptation of what is clearly the accepted two-act version. A work very much of its time, written by Miller in response to his one-time friend Elia Kazan's self-justifying, Oscar-laden "On the Waterfront", I'm reminded of the story of Miller sending a copy of the finished play to Kazan. The director presumably, feeling vindicated and forgiven by Miller for his "naming names" testimony to the HUAC, which ruined the careers and lives of a number of creative friends and associates, reputedly wired Miller back that he'd be honoured to direct it, only for Miller to have the last word by telling him he never wanted him to direct it, only for him to know what he thought of stool pigeons.

A twisted tale of toxic masculinity, it centres on New York's docklands just after the end of the war, where respected, established dock-worker Eddie Carbone lives with his wife Beatrice and pretty 17-going-on-18-year-old niece Catherine. He agrees to take into his house and find work on the docks for two Italian brothers, Marco and Rodolpho, relatives of his wife, effectively smuggling in and hiding illegal aliens who would otherwise be turned back at the border. The two men are in America to earn money to send back to their families as there's no way for them to provide for them in war-ravaged Italy. Marco is the older of the two, thick-set and dark in appearance, a solid family man who one day wants to return home, while Rodolpho is unattached, younger, fair-haired and much more open to the possibilities of putting down roots and becoming an American.

What neither of them knows is that there are underlying tensions in Eddie's household which their presence will, in the end, violently disrupt and bring to the surface resulting in a violent conclusion and tragic outcome we see in other Miller works.

We learn that Eddie hasn't had conjugal relations with his wife for some time who suspects that Catherine's flowering into womanhood may have something to do with it and when Rodolpho and Katherine start dating, Eddie's jealousy manifests itself in his ugly, prejudicial assertion that this interloper, because of his fair hair and singing and dancing somehow isn't man enough to take Katherine away from him. He insults Rodolpho by kissing him on the mouth in front of everyone and broods sullenly when he learns the couple are to marry.

Eddie's suppressed incestuous feelings for Catherine are less pronounced in the film than in the play, where at one point he passionately kisses the girl and the ending, where Marco confronts Eddie for ratting them out to the Immigration Services, plays out differently too, but in the main Lumet stays true to the text. He keeps his camera close in front of the characters, emphasising the simmering, claustrophobic atmosphere in the apartment and doesn't open the film out too much from its theatrical origins but does so just enough, especially in the climactic fish-hook fight between Eddie and Marco in the cold, rubbish-strewn street outside Eddie's apartment.

The ensemble acting was strong throughout but I was especially impressed by Maureen Stapleton as the conflicted wife and Carol Lawrence playing a character ten years younger than her actual age. One can only speculate however if Brandon had played the Eddie role although Raf Vallone nevertheless turns in a strong performance.

Less well-known and less celebrated than Kazan's Oscar winner, one suspects from this that Lumet would have stood with Ed Begley, Nick Nolte and Ian McKellen when a fawning Scorsese and De Niro presented Kazan with his Lifetime Achievement award many years later...