Il terzo uomo

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.

Where to begin. For starters Graham Greene. You know he understood the devastation Europe had gone through. You just can't make a film like this without it. That's what The Third Man is about - the devastation of Europe and how that affected people, both morally and physically.

Holly Martins, the main character, is who's eyes we see the post-war world through as he uncovers the mystery of the death of his friend Harry.

Back to Graham Greene - He wrote the novella. He writes about human misery as well as anyone. And there was no shortage of misery and lack of morals in post-war Vienna. He's also a master of conflict, both external and internal, which is where I'm going here. His characters struggle with their own souls to the point of anguish. Loss is another thing he nails.

There are a few more reasons this is the best movie ever made. The next is the editing. The chase scene at the end gets all the love but-this is going to be hard to articulate but the editing is so innovative I have to try-unlike most editors who edit based on sound and dialogue, this movie is kind of reverse. It's almost like the rhythm of the scene is dictating when to cut. It's a "feel" thing established either within a scene or the entire movie or both. It really has to be experienced, not just written about.

The next reason is the grandiosity of the visuals. It's unbelievable how grand everything is. This totally falls in line with Orson Welles noir style and the German expressionism that influenced this film. Carol Reed's choice of lenses throughout the film are perfect. Space is played with perfectly. This falls in line with my next reason, which is the noir style that is done so well. The mood is established and kept throughout, employing the noir and the expressionist style.

And lastly, this movie didn't just defy convention, it obliterated it - the visuals, the sounds, the story, the locations, the style, the score (which consisted of one musical instrument), and the people; the way Carol Reed presented their despair. I'm preaching to the choir. I know you know.

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.

No need to recap the oft-repeated plot. So why bother commenting after 500+ reviews. I guess it's because I'm a movie lover and want to enter my little note of appreciation. What sticks in my mind from the movie's first release are the visuals. They're among the most memorable if not the most memorable in film annals. In sum, they're a nightmare world of emptiness-the streets, the walkways, the dead hulking edifices. It's a communal world emptied of community, leaving only ruins and shells. The metaphor for a post-war Europe is unmistakable, while only the morally destitute like Harry Lime have thrived. I can't imagine that filming in color was actually entertained (IMDB). Had that happened, the film would have passed into semi-obscurity unlike its now celebrated status. Note too, that no one ends up happy, in contrast to narrative norms of the day. I think what brought many folks to showings at the time was the unfamiliar zither music. As I recall, a commercial cut was heard regularly on the radio. Still, I expect a lot of folks left the theater put-off by the bleakly unhappy world they had just seen. Anyway, the movie remains a brilliant slice of cinematic imagination and should not be missed.

The Third Man is a movie that looks and feels not like a movie of the 40s, but like a neo-noir of the late 60s/early 70s. This wonderful example of classic noir is one of the all time greatest films. It combines amazing visuals, sounds, dialogue, and acting to tell a thrilling story and comment about the atmosphere after WWII.

Of all the movies durring the studio era (pre-1960ish), there are three movies with cinematography that always stick out in my mind: Gregg Toland's work in Citizen Kane, Russel Mety's work in Touch of Evil, and Robert Krasker's work in The Third Man (all starring Orson Welles funny enough). I just recently saw a restored 35mm version of The Third Man. The crisp black and white visuals of a bombed out Vienna are so breath-taking. Shadows are everywhere. The unique way Krasker tilts the camera in some shots adding to the disorientation of the plot. And who can forget the first close-up of Welles with the light from an apartment room above splashing onto his face; one of the great entrances in movie history (Lime gives his old friend a smile that only Welles could give).

The cinematography is backed by strong performances by Welles, Cotten, and italian actress Vali. The writing of Greene is wonderful; you can see the plot twisting around Cotten tightly. But what makes The Third Man so great is its historical commentary (well not really historical since it was commenting on its own time, but to us it is historical). On one level The Third Man is a story of betrayal and corruption in a post-war, occupied Vienna. On the other hand, its giving the audience a glimpse of the mood of Europe after the great war. The uncertainty that the Cold War was bringing is evident through out the film; Cotten is constantly trying to figure out who to trust. Vienna is on the frontier of the new communist bloc (we even see the communists infiltrating Vienna trying to bring Vali back to her native Czechoslavakia). The zither music score combined with the stark images of bombed out Vienna are reminiscent of the frontier towns of American Westerns. So The Third Man is not only a wonderful film noir, but a unique look at the brief time between WWII and the height of the Cold War.