Accadde a Berlino

Claire Bloom has just arrived in post-war Berlin to vacation with her brother who is in the British Army and his new German wife (played by Hildegard Knef). Knef shows Bloom all about Berlin--both the Allied and the Russian sectors. In the east, the meet James Mason--a mysterious man who soon begins dating Bloom. However, there's obviously much more to the man than this and he and Knef share some secret. Later, through a strange series of events, Bloom is accidentally kidnapped and it's up to dashing Mason to help her sneak back to West Berlin--all the while pursued with Communists bent on their capture.

The film has a look very similar to director Reed's more famous preceding film, THE THIRD MAN--which was shot in post-war Vienna. However, the camera work in THE THIRD MAN was more daring and novel and the Berlin took far worse damage during the war--and the sheer volume of rubble in 1953 is still very significant and adds to the atmosphere.

Overall, while not a great spy film, it is very good and keeps your interest. I would say, overall, that the second half is a bit more exciting than the first. I especially liked the ending, though some might have preferred something a bit more upbeat.

By the way, James Mason seemed to do a fairly good job with speaking German. I could tell he wasn't exactly a native speaker, but he was pretty adept.

I enjoyed this, it is not great, nor very serious, which I like. I'm a bit adverse to serious spy drama, where I have to take all the political shenanigans too seriously, so this was fine for me, being more about the people involved and showing the city. I don't ever recall seeing such pictures of the devastation of Berlin or those simple border controls, many years before the wall. So, here we have Claire Bloom in one of the best performances I have seen from her, the possibly even lovelier but more one note turn from Hildegarde Neff and the more or less ever faithful James Mason. I was a bit concerned about his accent at first but soon got used to it and now understand that it is considered fine in Germany, so thats OK. The tale is fairly simple and predictable but the performances entrance and those streets with and without snow, a revelation. The cinematography and sharp direction make for a visual treat, especially those street scenes, the rooftops and stairwells and a decent level of suspense towards the end.

James Mason is "The Man Between" in this 1953 Carol Reed film, shot on location in post-war Berlin. The film also stars Claire Bloom and Hildegarde Neff. Bloom plays Susanne, a young American woman who comes to Berlin to visit her brother Martin. Martin is stationed there and married to Bettina (Neff). Bettina is clearly unhappy about something, and Susanne soon realizes that her discomfiture has to do with a mysterious man, Iwo (Mason), described as an old friend. When Iwo offers to show her the sights, Susanne accepts, and, believing him to be having an affair with her sister-in-law, advises him to leave her alone. Iwo says he is trying to leave the area, and a friend of Martin's can help by getting him the required documents and introductions. When Susanne asks her brother to help Iwo by contacting the man, Bettina loses her temper, and the truth about Iwo and his true relationship to Bettina emerges.

This is an odd, moody, dark film with some haunting images of the destroyed Berlin, and some beautiful shots, particularly the very last one in the film which stays in one's memory. The serenely beautiful Claire Bloom and the enigmatic Mason are magic together and make this a poignant love story, and very typical Reed - the innocent who has her eyes opened, the man tainted by sin going to meet his fate. The whole last half of the film focuses on only the two of them, and we sense their isolation, an odd couple in a changing world.

The German supporting cast is excellent, particularly Neff, whose career in Hollywood was brief. She wrote a wonderful best-selling autobiography, The Gift Horse, in 1970, which leaves no doubt of her feelings about the place. She went on to star in Silk Stockings on Broadway and eventually returned to Germany.

Quite a beautiful film, not up to "The Third Man," but still has the touch of the master.

Vintage Reed with all the elements from his films of the period. The innocent (Bloom) whose view needs to be muddied. The world weary, complex hero/villain. The confusion and ambiguities veering between love and hate, trust and betrayal, weakness and strength. Humans pulled from their comfortable lives and twisted by circumstance. The worn surroundings of war torn Berlin an extra character in the plot. All this in typical stark angled Reed view, with an atmospheric signature tune used noticeably towards the end, and a scene sequence mirroring the ambiguities of the characters.

Whilst the film doesn't flow as fluently and seamlessly as The Third Man, Mason and Bloom create eminently watchable if not entirely rounded characters.

In 1947,James Mason worked with Carol REED,in "Odd man out" (in Belfast).This work was influenced by Marcel Carné's "realisme poétique" and cast Mason as a fugitive.Both "odd man out" and "the man between " have similar endings,except for the female part.

Berlin atmosphere (like Vienna in 'the third man') is well rendering,with the claustrophobia you used to feel during the Wall days. There are plotholes,but the cast easily makes up for that.The couple Mason /Bloom is very endearing:Mason 's character is a man whose ideals have been betrayed and his love for the beautiful English woman he tries to save is touching .Actually ,at the beginning,Mason was not friendly,he was even disturbing,but his moral stature ceaselessly grows towards the end.The two stars get good support from German thespian Hildegarde Kneff,whom we miss in the second part.

This movie might have influenced two sixties work:"the spy who came in from the cold"(Martin Ritt,1965) which featured Claire Bloom again,and "torn curtain" (1966),one of Hitchcock's minor movies in which we find a theater again!FF Coppola in "godfather III" ,like Carol Reed,took advantage of this by using opera music to enhance particular scenes.

Although inferior to 'the third man" (neither Welles nor Karas) "odd man out' or even "fallen idol" (1948),"the man between " deserves to be seen.