Holly Martins (Joseph Cotton), an American pulp fiction writer, travels to meet up with his old friend, Harry Lime (Orson Welles). However, when he arrives he learns that Lime has been killed in a suspicious accident. He become involved in a complex mystery with Lime’s ex-girlfriend (Alida Valli), and soon it becomes apparent that Lime may not be dead after all.
The Third Man is often regarded as the best British film ever made (it topped a poll conducted by the BFI). It is certainly an enormously impressive work, and is notable in particular for its daring innovations; unusually, the film featured a truly evil villain (many movie antagonists are violent and sadistic, but few profit from the sufferings of children), and by making this vile criminal far more charismatic and entertaining than the would-be hero, Reed was subverting the conventions of the genre (the film was made in the days when heroes got all the good dialogue). The use of Anton Karas’ zither music was also a bold decision – this was, after all, a film noir, and the bouncy score could easily have ruined the atmosphere.
Reed’s boldness pays off, however, and Welles’ performance, which ultimately amounts to a cameo, is one of his best. He is sinister enough to be genuinely menacing (such as the famous scene on the big wheel) and charming enough for the audience to appreciate why he and Martins used to be good friends. Valli is also impressive in a complex role; at first she appears to inhabit a femme fatale role, yet gradually it become clear that she has passionate feelings towards Lime, and that she ranks as another one of his victims (Lime’s complete disinterest in her plight is still shocking).
The Third Man has dated extremely well, with smart dialogue and superb, Oscar-winning cinematography (the chase through the Viennese sewers is particularly striking, with its vivid use of shadows). People may bemoan the state of the British film industry, and often they have a point, but once the British could compete with the best of Hollywood and The Third Man serves as a sharp reminder of the cinematic talent that Britain used to support.
"I never knew the old Vienna before the war...", so begins the narration to The Third Man, one of the most justly famed British films of all time, set in post war Vienna. Writer Holly Martins is in town to visit his friend Harry Lime. But Lime is dead...or is he? Excellent performances from Howard, Cotten, Welles et al complement the expressionist look of the film, there are some of THE classic scenes in cinema (Welles's speech about the cuckoo clock on the big wheel, the closing shot of Alida Valli walking towards the camera), and of course, there's the theme tune, played by Anton Karas on the zither.
Orson Welles is barely on screen for five-minutes in this film noir masterpiece but he delivers a powerhouse performance as the amoral grifter known as Harry Lime.
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Orson Welles is barely on screen for five-minutes in this film noir masterpiece but he delivers a powerhouse performance as the amoral grifter known as Harry Lime.
This film is probably one of the best known and certainly one of the most stylish noirs ever comitted to celluloid. The director Carol Reed was a fine pioneer of some truly intriguing and ground-breaking movies including Odd Man Out starring James Mason and The Man Between.
The supporting cast in this classic also deliver some excellent performances and truly enhance the films atmosphere and the trademark Expressionistic light-and-shadow is used to the full not to mention some rather experimental camera shots.
I was also taken in by the rather unusual score which is a tune that I will keep on humming for the next week or so.
The Third Man oozes class on every level and reminds me of some of the early Fritz Lang classics like M with Peter Lorre and Whlie The City Sleeps.
As a fan of the film noir I was thoroughly impressed with this effort and will be honoured to have this film as part of my permanent collection. < less
A film ahead of its time, this must be one of the greatest British films ever produced. An archetypal noir thriller set in post-war Vienna, the city is caught as it w... more >
A film ahead of its time, this must be one of the greatest British films ever produced. An archetypal noir thriller set in post-war Vienna, the city is caught as it was then in all its bomb-damaged, baroque splendour. Holly Martins (Joseph Cotton), an out-of-work writer, is in town to visit his old school friend Harry Lime (Orson Welles) who has offered him a job. On arrival, Holly discovers Lime killed in a mysterious traffic accident. Directed by Sir Carol Reed from the screenplay by Graham Green, the film is accompanied by the haunting Harry Lime theme. < less
