The Third Man reviews
Review by on 25 Sep 2009
From the audience reactions it was clear that quite a few had never seen this movie before, discovering this fabulous noir must be an even greater joy than a repeat viewing.
Graham Greene’s script is set in post-war Vienna. Holly Martins (Joseph Cotton), a writer of cheap Westerns, arrives to take up a job offered by his friend Harry Lime (Orson Welles). However, Lime has been killed in a mysterious car accident. Martins is convinced there is a conspiracy and is determined to discover the truth. His investigation uncovers much about racketeering despite his amateurish approach that puts all he meets at risk. It is a thriller that explores the moral choices that people make in a shattered society and the decision that Martins must take about his oldest friend.
The mise-en-scéne is extraordinary. The shadows on the streets, the shafts of light as windows open, the aerial views of the bombed city, the piles of rubble and the diagonal camera angles with off-screen vanishing points. The sound track is amazing especially the shouts and muffled snatches of voice during the chase in sewers.
As if all this wasn’t enough, Anton Karas’ zither score is, perhaps, even better known than the film itself. Reed had discovered Karas in Vienna and commissioned him to produce the music that adds to the mood through much of the film. The famous Harry Lime theme became a best seller.
This is not a spy film but any excuse to see it on the big screen works for me.
From the audience reactions it was clear that quite a few had never seen this movie before, discovering this fabulous noir must be an even greater joy than a repeat viewing. Graham Greene’s script is set in post-war Vienna. Holly Martins (Joseph Cotton), a writer of cheap Westerns, arrives to take up a job offered by his friend Harry Lime (Orson Welles). However, Lime has been killed in a mysterious car accident. Martins is convinced there is a conspiracy and is determined to discover the truth. His investigation uncovers much about racketeering despite his amateurish approach that puts all he meets at risk. It is a thriller that explores the moral choices that people make in a shattered society and the decision that Martins must take about his oldest friend.
The mise-en-scéne is extraordinary. The shadows on the streets, the shafts of light as windows open, the aerial views of the bombed city, the piles of rubble and the diagonal camera angles with off-screen vanishing points. The sound track is amazing especially the shouts and muffled snatches of voice during the chase in sewers.
As if all this wasn’t enough, Anton Karas’ zither score is, perhaps, even better known than the film itself. Reed had discovered Karas in Vienna and commissioned him to produce the music that adds to the mood through much of the film. The famous Harry Lime theme became a best seller.
This is not a spy film but any excuse to see it on the big screen works for me.
Review by on 25 Sep 2009
There were no empty seats at the showing of THE THIRD MAN, the
highlight of The Spying Game programme. The film is more freckled
than it once was, and glitching slightly, but still retains its
original guile and vigour. The same could be said of some audience
members, a mostly mature crowd of longterm fans whose laughter rang
out in joyful anticipation of favourite lines and scenes. Wonderful
to see this classic in its intended context - on the big screen, with
a young couple smooching in the back row.
This complete 104-minute edition of the film retains elements once cut
to suit the American palate, such as allusions to Cotton’s alcoholism.
Director Carol Reed ensures never a dull moment among Escher
perspectives, puzzled camera tilts and a wry zither soundtrack. The
plot, as well as the style, is paradigmatic - to this day, supporting
characters haven't learned that if one has something urgent to convey
to a man in a fedora, one should just spit it out, and not arrange a
rendezvous. Welles’ boggling eyes glisten like moonlight on wet
cobbles, and his chubby chops lend an air of a petulant
precociousness; reflecting his tendency to behave like a spoilt child
on set. His character, Lime, sees people as insignificant dots. But
can he really become one of those dots himself, and melt into the
shadows? No more than Welles, then known as “box office poison”,
could ever have faded into obscurity after his electrification of this
chiaroscuro classic.
ROSY HUNT
There were no empty seats at the showing of THE THIRD MAN, thehighlight of The Spying Game programme. The film is more freckled
than it once was, and glitching slightly, but still retains its
original guile and vigour. The same could be said of some audience
members, a mostly mature crowd of longterm fans whose laughter rang
out in joyful anticipation of favourite lines and scenes. Wonderful
to see this classic in its intended context - on the big screen, with
a young couple smooching in the back row.
This complete 104-minute edition of the film retains elements once cut
to suit the American palate, such as allusions to Cotton’s alcoholism.
Director Carol Reed ensures never a dull moment among Escher
perspectives, puzzled camera tilts and a wry zither soundtrack. The
plot, as well as the style, is paradigmatic - to this day, supporting
characters haven't learned that if one has something urgent to convey
to a man in a fedora, one should just spit it out, and not arrange a
rendezvous. Welles’ boggling eyes glisten like moonlight on wet
cobbles, and his chubby chops lend an air of a petulant
precociousness; reflecting his tendency to behave like a spoilt child
on set. His character, Lime, sees people as insignificant dots. But
can he really become one of those dots himself, and melt into the
shadows? No more than Welles, then known as “box office poison”,
could ever have faded into obscurity after his electrification of this
chiaroscuro classic.
ROSY HUNT
Film details
The Third Man
THE SPYING GAME: BRITISH CINEMA AND THE SECRET STATE
Actor: Trevor Howard
Actor: Joseph Cotton
Actor: Orson Welles
Director: Carol Reed
Actor: Alida Valli
Actor: Bernard Lee
Actor: Joseph Cotton
Actor: Orson Welles
Director: Carol Reed
Actor: Alida Valli
Actor: Bernard Lee
UK, 1949.
104 mins.
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