8
The Third Man
1949, d. Carol Reed - Criterion Channel
The Story (in two paragraphs or less)
Holly Martins, an author of American westerns, lands in Vienna to visit his old pal Harry Lyme, only problem is Harry is dead after a hit-and-run. Holly's just arrived in time for the funeral, where there's only a few mourners and other on-lookers. Holly is picked up by the British service and given a place to stay and a little spending cash, and an offer for a return ticket home, but the Brits' believe that Harry was into some illicit dealings and they're not really concerned about Harry much but ensuring that he's in fact dead.
Holly, wounded by the insinuation his best friend is a criminal, seeks to clear his name and find out what happened in his death. He gets embroiled with Harry's business partners and his lover, Anna, who knew nothing about Harry's dealings, nor cares to know now. Holly falls in love with her, but it's clear it will never be reciprocated. When it suddenly seems like Harry is alive, Holly has a choice to make, about whether he betrays his friend, or sees that justice is done for Harry's past misdeeds.
What did I think I was in for?
I always kind of thought that The Third Man was a spy thriller. With a few tweaks it could have been. Instead it's more post-war Noir. I knew that Orson Welles was in it, based on that iconic image of him in the shadows with the light on his face. Based on that, I basically knew that Harry Lyme was not dead because it's the most prominent name in the film and after almost an hour without seeing Welles, it just had to be him. I knew I was in for some pretty stark black and white cinematography,
What did I get out of it?
I'm not well versed in classic cinema, nevermind classic noir, so whenever I do approach one that fully retains my interest and intrigue throughout, I'm surprised. I was never bored.
I knew nothing of the setting of post-war Vienna, where Russian, British, French and Americans have divided the terrain. It was an intriguing environment to operate a Noir in, or any kind of story for that matter. The many languages (untranslated) throughout speak to it being a very British-produced film rather than an American one. The environments Vienna provides, especially from that time period, are so captivating. Buildings still functioning as offices or residences have sections that are partially destroyed from the war. The aqueducts that are utilised for the main chase sequence in the final act are so intriguing (although referring to them as the sewage system kind of grosses me out that everyone's just running through it so casually).
The cinematography in conjunction with the lighting is just lovely. Really stark, black shadows, with intense light feeds to focus attention on a specific point. It's not logical how the light works in this movie except as visual aesthetic, which is all that really matters. I loved the use of shadows in this movie, really inventive and pleasing.
Thought it starts out as a mystery, by the start of the third act the mystery has been resolved and becomes much more a character study of Holly, Anna and Harry.
Just have to say, though, that Pinky and the Brain kind of ruined Orson Welles for me.
Do I think it's a classic?
Yes, absolutely. Still holds up completely and could not be made in the same way today.
Did I like watching this?
I did, quite a bit. I was intrigued by it's setting the most, but also appreciated how it toyed with Noir conventions. I'm not certain about the zither music though. It seemed a strange choice, but it certainly distinguishes it.
Would I watch it again?
I don't know that I need to, but when my memory of it fades, I'll give it another peek.
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