MissRosa

NOTES ON THE THIRD MAN

The Third Man -- it's Freud! it's Kafka! it's Hitchcock! It's Conrad! It's Fellini! It's Nietzche! It's Machiavelli! It's all the above and more: it's Orson Welles... and the Notes on the GREATNESS of THE THIRD MAN.

Two's company, three's a crowd. The title hints of a character who has surpassed the ordinary; who has defied conventional restraints; an outsider; a modern Kurtz [Heart of Darkness]. No coincidence that a sinister, cynical Kurtz actually exists in the film.

Of what is Lime guilty anyway? How guilty is he? What has he done? Does it even matter? For a long time, he is nowhere in sight. We don't know where he is, if he even exists, or if the terrible rumors about him are true. So why do we so desperately want to meet him and hear his side of the story? We begin to identify with this mystery man, we want to side with him.

Only one thing is certain as the story unrolls: Harry Lime has gone too far and he must pay the price.

Joseph Cotten plays an artistically-compromised American writer, who is too naive -- in his charming American way -- to realize it. Can he even begin to offer the insight and integrity needed to evaluate Lime's guilt or innocence, the evidence we long to disavow?

Then there is Harry's American girlfriend. She is depressed by Harry but is mentally loyal to his "memory."

TouchPoints

The transcendently evil character to whom a genuine, yet inexperienced character is inexplicably and irrevocably drawn through a long, convoluted journey toward absolute darkness. (Conrad)

Vienna, the city of intellect, intrigue, and ambition with its dark streets, gothic shadows and subterranean sewers providing the ultimate metaphor for the mind (Freud) Life as a dizzying carnival of dizzying perceptions of good and evil, sin and salvation, and the relentless need to make choices. (Fellini)

The investigation of murder, and the subsequent surprises, secrets and thrills that unveil character and motive. The use of creative sound, light and cinematography to embroil the viewer in the hunt. Tall buildings and dizzying heights. The propensity to fall from grace. (Hitchcock)

The presumption of guilt as a foundational assumption of modern life. The chaos, frustration, loneliness and deep fears occasioned by endless and inescapable and endless bureaucratic and architectural webs, mazes, and tangles. (Kafka)

This is certainly one of the top ten films of all time -- if not, in fact, number one. It's complexity continues to fascinate, amaze, entertain, awe. It is perfect.

This is an excellent adaptation of the Graham Greene novella. Richardson's performance is incredible, and the relationship between Philippe and the butler is the centerpiece of the film.

I sometimes wonder if this film would have been more successful with a different title. IMHO "The Fallen Idol" suggests a Saturday matinee shlockfest or a pretentious drawing room comedy.

This is a good companion piece to another Graham Greene novella -- also directed by Reed -- the Third Man, which is just possibly the greatest film of all time...

Once again, Welles astounds with his talent. Even though he is not listed in this film's credits as director or writer, the great Welles has left indefatigable stamp of genius on this film. His fascination and artistic absorption with great, unbridled power, moral resistance to that power and the response of the artist has once again propelled him to greatness.

His is a fascinating, swaggering, bemused, sly (as the title implies) impression of the all-powerful Borgia and his near success at corrupting the artist, Orsini. Shades of Citizen Kane and Harry Lyme..?

Naturally, there is a weaselly accomplice (Sloan), and he is terrific too. I found Tyrone Power's performance more than adequate -- for once. Production values were good, too.

But the keynote of the entire production is the masterful Welles. His portrayals are a joy to encounter, maybe because he finds the rich and powerful entertainingly evil, while the rest of us poor mortals find them too intimidating to even acknowledge.

Who cares about Welles' "troubles with Hollywood"? Skip the gossip, people, and THINK about his characters' motives and behavior. And their relevance.

(Talk is cheap. It is easy for the American Film Institute to call Citizen Kane the number one movie of all time, but which side were they on when Welles was being persecuted by his Hollywood peers? And where are they now, when talented independent filmmakers are trying to get their "dangerous" films shown -- or recognized)?

The fact is, with or without support or financing, Welles was in a class by himself. His brilliant mind, rampant creativity, sheer acting ability, courage, originality and artistic integrity have yet to be matched.

There will never never be another Welles...

Back to Prince of Foxes. This is an underrated film. See it for Welles' sake, see it for a Renaissance flash, or just see it for Everett Sloan's eyeballs...