O 3º Homem

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.

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.

Holly Martins has just arrived in Vienna, but he's found himself with a small dilemma, his mate Harry has just died, with a car he did collide, although the circumstance is causing him some bother. As he peels back several lids of several cans, it transpires Harry was a wanted man, had his fingers in some pies, to do with medical supplies, the authorities were not his biggest fan.

Dark and deceptive goings on, above and below the streets of Vienna post WWII, with some outstanding and perpetually incredible performances against a background of shadows, shifting perspectives and immoral behaviour.

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.

Who was Harry Lime (Orson Welles)? An evil man, devil in the flesh who was responsible for the unspeakable crimes, yet brilliant, cheerful and charismatic. His most famous words, a short speech written by Welles himself, say a lot about his character and motivations:

"In Italy for 30 years under the Borgies 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."

No wonder, we like him, even though we know what he'd done…

It has been said thousands of times about the greatest movie entrance ever – but what about his 'exit' – the fingers on the street? I think it is one of the greatest, too…

A beautiful mysterious girl with tragic past was in love with him and the unforgettable ending, so anti–Hollywood, so true to the film - was about her love that goes beyond the grave. I read that both Selznick (the producer) and author Graham Greene had initially argued for something more upbeat (Holly and Anna walking off arm-in-arm), but Reed disagreed. I am so happy that Reed won (I am sure millions of fans are, too). That was the way to finish the movie and make it much more than just typical noir. Makes the viewer think about love, friendship, betrayal, loyalty, the price one pays for them.

Amazing film - perfectly shot; almost flawless. It looks and feels like Welles himself could've made it. The influence of Citizen Kane is undeniable. The only problem I had – the music. I like it but it was very strange to hear it in the film like The Third Man. Maybe that was a purpose – instead of somber, moody, and ominous music that would be expected for the noir film, something completely different and out of place – cheerful but melancholy in the same time…

Criterion DVD is wonderful – the restored version of the film shines. There are two openings of the film available – British and American, and a lot of extras.