El tercer hombre

Although I am as old as this movie, produced in 1949, I have not aged nearly as well. This film, directed brilliantly by Carol Reed ("Odd Man Out", "The Fallen Idol") and written by Graham Greene, who created a long list of memorable cinematic scripts, ingeniously captures the prevailing atmosphere of disruption and chaos that Vienna, a once highly civilized city, experienced during the years that followed World War II. The upheaval is physical, social, economic, political, moral, spiritual. You name it. Vanquished Vienna, conquered by the Allies, was crippled by turmoil in every imaginable way, and we viewers are given the opportunity to experience it up close, right here.

I spent a number of months in Europe after I graduated from college in 1971. Although the war had been over for more than 25 years by then, I was struck by a very pronounced attitude of cynicism on the part of many Europeans regarding uniquely American ideals and principles, which were widely considered to be naive. To me, this film accurately captures this cultural and moral conflict, which lasted for decades and may even survive to this day. "You and your American principles," they would often scoff at me with mocking derision. In many ways, the character of Holly Martins (Joseph Cotten), an American who crashes into post-World War II Europe, is a victim of a serious cultural divide. Unlike the Europeans, Martins always has the option of fleeing from the chaos and returning to the United States. For that alone, he may be resented by the local Viennese.

What does Anna (Alida Valli) know about the illegal activities of her lover, Harry Lime (Orson Welles), which includes the sale of diluted penicillin to Vienna's hospitals? For children with meningitis, watered down penicillin was not only useless, but it created an immunity from full strength penicillin so that these afflicted children could never receive effective treatment. Corrupted penicillin is a glaring symbol of a totally corrupted Vienna. Harry surely understands the consequences of his business, but what about Anna? Even after the truth about Harry's conduct is clearly revealed to her, she still sticks by him to the bitter end. Love conquers all? Stand by your man, regardless of the misery that he is causing to his innocent victims? While I don't blame her for rejecting the romantic overtures of Martins, who is somewhat of a schnook, what's with her anyway? She reminds me of the Europeans who never once caught a whiff of the burning flesh from the overworked crematoria of the concentration camps that blackened the air all around them. She is deeply in love with Harry, so just shut up about children with meningitis. OK, Anna, whatever you say, sweetheart. Perhaps those silly 18th century costume comedies in which you appear will provide the escape from reality that you so desperately seek. At least you manage to crack a weak, forced smile on stage, which is the only smile that we will ever see from you.

From beginning to end, the unusual camera angles, the dark, somber, haunting sidewalks of Vienna, and the conquered city's eerie, drenched cobblestone streets contribute to the overall foreboding atmosphere of the film, which was remarkably photographed by Australian Robert Krasker ("Odd Man Out", "Brief Encounter"). From every direction and without advance notice, unforgettable images and characters appear before us, emphasizing an overall mood of mayhem and unpredictability. We witness, for example, Anna's landlady, draped in a bedspread for warmth in a state of deep distress by the sudden invasion of her house by "officials" representing not one foreign nation but four of them. Then we observe a ludicrous, bureaucratic "cultural re-education conference" offered to the Viennese by the allied victors, presumably to rehabilitate them after seven years of Nazi domination. And from where on earth did the balloon seller come as he pathetically peddles his merry merchandise on the dark, abandoned streets of Vienna, which are not only completely void of children at the time but of all people?

And what of the inquisitive, confused character of Holly Martins, played with the usual, smooth agility of Joseph Cotten? As the writer of mass marketed western novels that even a young British sergeant happens to read, why is he broke, and what kind of job would Lime have offered him in an unfamiliar, German-speaking Vienna that is gripped by post-war disorder, unemployment, and foreign occupation? Construction work, perhaps?

While some reviewers disliked the zither music of Anton Karas, I think that the unique, high pitched sound contributes to the general atmosphere of nervous tension and uneasiness that prevails. Would you prefer Strauss waltzes instead? They wouldn't be nearly as effective in conveying the overwhelming atmosphere of chaos, even insanity, that plagues Vienna on so many levels at the time.

Finally, we are brought to the hidden network of grand Vienna's underground sewers. What could be a more fitting symbol of the underlying foulness that lurks beneath the thin, shallow surface of what we call "civilization"? This subterranean labyrinth provides the perfect setting for the ending of an extraordinary film that very effectively portrays a world that has succumbed to a state of disorder, misery, and even madness. Ultimately, it is all destined for the sewer. Bal-loon?

What IS it makes THE THIRD MAN the classic most everyone agrees it is? (And lets face it, voted no 35 in the top all-time films gives it MORE than just some passing credibility!) Is it Orson Welles' menace? The whiff of corruption in occupied post-war Vienna? the cuckoo-clock speech atop the big wheel? even Anton Karras' zither? Perhaps ALL these things? If however, you had to nominate just a single influence within the whole production that elevates it to greatness I suggest that would be Robert Krasker's cinematography.

The finished product innovatively, was years ahead of its birthright. Time and time again the viewer is bailed up by stunning camera angles and back-lighting. The eerie shadows around the deserted streets and of course the unforgettable first glimpse of Harry Lime (Welles) himself as he skulks like the rat he is, in the corner of the building, lit in close-up suddenly from the light in an adjacent apartment. Offhand I cannot think of a character's more dramatic entrance to a film.

Welles in fact has minimal screen time, though his dark presence and influence infiltrate proceedings like an insidious disease. Yet somehow his ultimate demise in the sewers brings into play an incredible sadness and compassion that has absolutely no right being there. It remains for me one of my top five film favorites. I have always given it a "10" personally but hey, to be voted an "8.6" universally is a pretty fair vindication of my words here.

In a bombed-out Vienna just after WWII, novelist Holly Martins (Joseph Cotten) arrives from America to renew a friendship with his childhood buddy, Harry Lime (Orson Welles). Much to the dismay of Holly, a freak auto accident has recently killed his friend, according to those who knew Harry.

But in searching for details of Lime's death, Holly gets contradictory stories that don't add up. One of the persons who knew Lime is an attractive woman named Anna Schmidt (Alida Valli) whose continued presence in the story invites suspicion. The film's plot has Holly searching for the truth about his friend, while trying to stave off a city detective, Major Calloway (Trevor Howard) who tries to persuade Holly to leave Vienna.

The film's story is okay. But what makes "The Third Man" really interesting is the B&W cinematography, by Robert Krasker. Unlike most films, camera movement here is restricted, so as to draw attention to each frame's geometry. Typically in this film, a frame is tilted at an angle so that both vertical and horizontal points of reference are off-kilter. Frame images thus become a series of diagonal straight lines and curves. Further, very high-contrast lighting, especially in outdoor scenes at night, creates a bizarre, almost nightmarish look and feel, and are suggestive of German Expressionism.

All of which results in a visual disorientation for viewers that parallels Holly's disorientation both in the streets of Vienna and in his understanding of the circumstances surrounding Lime's absence. In most outdoor scenes there's a conspicuous lack of crowds, a lack of hubbub one would expect in a bustling city. Instead, only a few secondary characters appear in night scenes. This sparseness in characters on the streets conveys the impression that hidden eyes are watching Holly, ready to pounce at any moment from out of dark shadows.

"Everybody ought to (be) careful in a city like this", says one character to Holly, as an implied threat. Soon, a man who wants to give Holly some valuable information is murdered.

The script's dialogue is quite impressive, with some interesting lines and points of view. Some of the dialogue is in German, which enhances authenticity.

The film's acting and editing are very, very good. Adding a slightly romantic, and at times melancholy, tone to this dark film is the music of the "zither", an instrument similar to a guitar, but sounding quite different.

My one complaint about this film is that it's hard to keep tabs on some of the background characters. Trying to connect names with faces can be difficult, resulting in some confusion.

"The Third Man" tells an interestingly bleak story, set in a bleak, desolate urban environment, rendered truly mesmerizing by the creatively surreal B&W cinematography.

Even today in Vienna, one can take the "Third Man Tour" (Der Dritte Man) except, of course, that Orson Welles wouldn't go into the Viennese sewers and those scenes were done in England. There were actual sewer scenes with a double. Never mind, it is still a magnificent black and white film 99% filmed in Vienna. Directed by Carol Reed, it stars Joseph Cotten, Orson Welles, and Alida Valli.

Western novelist Holly Martins (Cotten) comes to Vienna at the behest of his old friend Harry Lime, but when he arrives, he learns that Lime is dead after being hit by a car. He investigates and finds the circumstances very strange indeed, especially when learning there was a third man that helped carry Harry's body to the sidewalk, a man who has since disappeared.

He then meets Harry's girlfriend (Alida Valli). And he also meets a police officer in the British section of Vienna, Inspector Calloway (Trevor Howard), who tells him that Harry was a murderer and a racketeer, and it's better that he's dead. Holly is shocked and demands proof.

One of the most atmospheric films ever made, with its zither music, cinematography, and Vienna at nighttime. Then there's some brilliant dialogue, particularly the "cuckoo clock" speech made by Orson Welles.

The cinematography is particularly striking: odd angles, back lighting, and shadows on empty streets. And who can forget the man hidden in the doorway, when the light from an apartment goes on and shows his face - certainly one of the great appearances of a star in a film.

One feels Lime's presence throughout the film, though he only has five minutes of screen time.

Though none of these actors were the first choice to play their roles, they are all excellent.

There was a Third Man TV series in 1959 that ran for six years and starred Michael Rennie as Lime. In the series, Lime is a hero.

He's no hero in the movie, but it is a powerful story and film, never forgotten once seen.

This is a rare film that is flawless in every respect. It combines great acting and memorable characters with a fascinating story, taking place in an interesting setting and adding a creative musical score. "The Third Man" is remembered for many things - for Orson Welles' wonderful performance in his appearances as Harry Lime, for its wonderfully appropriate musical score, and for its nicely conceived plot surprises. Adding to these is Joseph Cotten's fine portrayal of Holly Martins, which holds the rest of it together - it is his character who initiates most of the action, and also through whom we view everything and everyone else.

The story starts, after a nicely done prologue, with Martins arriving in Vienna, and finding out that his friend Harry is not only dead but is accused of running a particularly destructive black market racket. Martins sets out at once to prove his friend's innocence, getting into an immediate scuffle with the police, and it seems at first to set up a conventional plot about clearing the name of a friend - but the actual story that follows is much deeper and much better. It is just right that Martins is an innocent who writes cheap novels for a living, and he gets a pretty memorable lesson in fiction vs. reality. There are some great scenes (the Ferris-wheel confrontation being as good a scene as there is in classic cinema) leading up to a memorable climactic sequence, and a good supporting cast, with Alida Valli as Anna being very good in complementing Lime and Martins. The setting in crumbling post-war Vienna and the distinctive zither score go very nicely with the story.

This is a fine, flawless classic, and while obviously belonging to an earlier era, it deserves a look from anyone who appreciates good movies.