Directed by: Carol Reed
Screenplay by: Graham Greene
Year: 1949
The Third Man is a film that caught my interest a few years ago when I heard of its critical acclaim and of its genre: film noir, of which I am a major fan. However, it was not until the other night that I was able to watch this film. And was it what I expected? Yes...and no...
The Third Man follows main character and American writer Holly Martins (despite the name, he is a male character), played by Joseph Cotten, who goes to Vienna to see his old friend Harry Lime. However, upon arriving, he finds that Harry Lime is dead and has come just in time for the funeral. The circumstances around Harry's death though do not sit well with Holly and so he begins his own investigation into the matter.
This sounds like a typical premise for a mystery film. But this film is anything but typical. Joseph Cotten plays the role of Holly Martins superbly. His interactions with the other characters are very engaging and Cotten works well as the main protagonist of this story. Alida Valli plays Anna Schmidt, a beautiful actress and Harry's former lover. Much of the film relies in Holly and Anna working together and were it not for the excellent chemistry Cotten and Valli share on screen, this film would not be nearly as acclaimed. Another interesting character is that of Major Calloway, played by Trevor Howard. A British police officer, Calloway always has a commanding presence thanks to Howard's portrayal of the character.
However, it is Orson Welles who gives the standout the performance of the film. Originally, Welles was not going to be cast in this film, which would have been a HUGE misstep seeing as how his performance his perhaps the mist memorable part of The Third Man. Ironically, he is absent for more than half of the film. But when he finally does appear, he is revealed in an unforgettable manner. His character's introduction is one of the best, if not the best, character reveal I have ever seen in a film.
*SPOILERS AHEAD* The scene with the cat by Welles' feet is simply fantastic and the way the shadows cover him really adds mystery and obscurity not only to him but to the whole movie. The big shoes add a sense of importance and presence to our man in the shadows. Holly's interaction with the motionless and voiceless figure is also very well done. And when we do finally get to see the face in the shadows, the reveal proves to be a powerful one, and yet Welles does not utter a single word. Everything we need to know is shown in his facial expressions. This is a credit to Welles' talent as an actor.
*SPOILER FREE* The performances are the only things that make this film so unique. The direction by Carol Reed is very good, with countless crooked shots throughout, representing that Vienna has been left shaken and disjointed as a result of the war. This is further emphasized by the different sections of Vienna, separated by nationality. The use of shadows is also very stylistic, whether to make figures seem mysterious and obscure or to make people seem like large monsters. One particular example is when a child's shadow is made to look much larger than him, making the child more of a threat for the respective scene. The cinematography does not fall short either. From what I have read, all filming was done on location in Vienna, so as to better immerse the audience in the world of the film. The rubble and destruction are therefore actual results of the war. The only sets I am aware of are those of certain parts of the sewer sequence, which in either case, is still very atmospheric and very realistic.
Another thing to note is the frequent confusion of names. Holly is called Harry, Calloway is called Callohan, and Dr. Vinkel is called Winkel. This suggests a world of confusion or misalignment, echoing the previous representation of the now "crooked" Vienna.
Something that really caught me off guard was the musical score of the movie. When the opening credits begin, the audience is treated to the sole instrument that is the zither. I thought this would only be for the credits sequence but the entire film is scored by this single instrument. Apparently, this was not the filmmakers' first choice but after hearing the instrument, they felt scoring their film solely to the zither was a wise choice. When I first watched the film, I thought the musical composition was catchy and well arranged but did not fit the film all too well. Then I watched The Third Man a second time, and I realized how wrong I was. I've come to really love the soundtrack and appreciate its bold use. It gives this film a sort of character to distinguish it from all other film noir. The score hauntingly beautiful. It sounds cheerful and upbeat, but feels so hollow and ghostly. A tremendous feat.
As for the actual plot, it moves at a comfortable pace, introducing characters and revelations at the right moments, inserting chase sequences and scenes of dialogue appropriately. The story is simple but it continuously evolves and becomes more elaborate with every scene. The twist involving the third man is both predictable and surprising.
*SPOILERS AHEAD* It is predictable that Welles is the third man, seeing as how we have seen neither him nor our mystery man for a good deal of the film. However, the identity of the third man is very shocking. The surprise of discovering that he is actually Harry Lime is shown superbly through Holly's reaction. Surprise, confusion, and intrigue, all beautifully mixed together. And Harry's face is very interesting. He doesn't seem as if Holly's discovery has ruined all of his plans, but rather he gives an expression that resembles getting caught playing a nasty little trick, like a young schoolboy.
*SPOILER FREE* The film culminates in a final chase through the sewers of Vienna and this is where the tension reaches its magnificent peak. The final scene of the film is also a work of art on its own. With memorable characters, magnificent direction and cinematography, not to mention a singular score, The Third Man lives up to its reputation in my eyes, especially with its amazing screenplay, with Welles' short speech (which was written by Welles himself and not in the actual script) being an absolute standout:
"Don't be so gloomy. After all, it's not that awful. Like the fella says, in Italy for thirty years under the Borgias they had warfare terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long, Holly."
The more I think about this film, the better it becomes in my mind. It is becoming a favorite and definitely one of the best I've seen.
Grade: A+
*SPOILERS AHEAD* The scene with the cat by Welles' feet is simply fantastic and the way the shadows cover him really adds mystery and obscurity not only to him but to the whole movie. The big shoes add a sense of importance and presence to our man in the shadows. Holly's interaction with the motionless and voiceless figure is also very well done. And when we do finally get to see the face in the shadows, the reveal proves to be a powerful one, and yet Welles does not utter a single word. Everything we need to know is shown in his facial expressions. This is a credit to Welles' talent as an actor.
*SPOILER FREE* The performances are the only things that make this film so unique. The direction by Carol Reed is very good, with countless crooked shots throughout, representing that Vienna has been left shaken and disjointed as a result of the war. This is further emphasized by the different sections of Vienna, separated by nationality. The use of shadows is also very stylistic, whether to make figures seem mysterious and obscure or to make people seem like large monsters. One particular example is when a child's shadow is made to look much larger than him, making the child more of a threat for the respective scene. The cinematography does not fall short either. From what I have read, all filming was done on location in Vienna, so as to better immerse the audience in the world of the film. The rubble and destruction are therefore actual results of the war. The only sets I am aware of are those of certain parts of the sewer sequence, which in either case, is still very atmospheric and very realistic.
Another thing to note is the frequent confusion of names. Holly is called Harry, Calloway is called Callohan, and Dr. Vinkel is called Winkel. This suggests a world of confusion or misalignment, echoing the previous representation of the now "crooked" Vienna.
Something that really caught me off guard was the musical score of the movie. When the opening credits begin, the audience is treated to the sole instrument that is the zither. I thought this would only be for the credits sequence but the entire film is scored by this single instrument. Apparently, this was not the filmmakers' first choice but after hearing the instrument, they felt scoring their film solely to the zither was a wise choice. When I first watched the film, I thought the musical composition was catchy and well arranged but did not fit the film all too well. Then I watched The Third Man a second time, and I realized how wrong I was. I've come to really love the soundtrack and appreciate its bold use. It gives this film a sort of character to distinguish it from all other film noir. The score hauntingly beautiful. It sounds cheerful and upbeat, but feels so hollow and ghostly. A tremendous feat.
As for the actual plot, it moves at a comfortable pace, introducing characters and revelations at the right moments, inserting chase sequences and scenes of dialogue appropriately. The story is simple but it continuously evolves and becomes more elaborate with every scene. The twist involving the third man is both predictable and surprising.
*SPOILERS AHEAD* It is predictable that Welles is the third man, seeing as how we have seen neither him nor our mystery man for a good deal of the film. However, the identity of the third man is very shocking. The surprise of discovering that he is actually Harry Lime is shown superbly through Holly's reaction. Surprise, confusion, and intrigue, all beautifully mixed together. And Harry's face is very interesting. He doesn't seem as if Holly's discovery has ruined all of his plans, but rather he gives an expression that resembles getting caught playing a nasty little trick, like a young schoolboy.
*SPOILER FREE* The film culminates in a final chase through the sewers of Vienna and this is where the tension reaches its magnificent peak. The final scene of the film is also a work of art on its own. With memorable characters, magnificent direction and cinematography, not to mention a singular score, The Third Man lives up to its reputation in my eyes, especially with its amazing screenplay, with Welles' short speech (which was written by Welles himself and not in the actual script) being an absolute standout:
"Don't be so gloomy. After all, it's not that awful. Like the fella says, in Italy for thirty years under the Borgias they had warfare terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long, Holly."
The more I think about this film, the better it becomes in my mind. It is becoming a favorite and definitely one of the best I've seen.
Grade: A+
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