•
Rating: The Third Man is a 1949 film directed by Carol Reed starring Joseph Cotten, Alida Valli, and...Orson Welles, who, however, is never seen until at a certain point he somehow...appears.
I find it quite difficult to write about this film without revealing the first 5/10 minutes because the unconventional narrative structure dictates that there be a startling twist right from the outset. Only after this twist can the film truly begin...
Holly Martins (Joseph Cotten) is a mediocre writer of western pulp novels. An American, he travels to Vienna to meet his friend Harry Lime, his best friend.
We are in Vienna in 1949, the war has ended recently, and the Allied forces divide the city amidst chaos, ruins, smugglers, the black market, and a strong desire to start anew.
The two friends haven't seen each other for 10 years. Holly arrives in Vienna because Harry has offered him a job, and, without a penny but as cheerful as a lark, he gets off the train.
However, Harry didn’t come to pick him up... strange! Holly goes to Harry’s home and... meets the building's porter who tells him that Harry died yesterday, run over by a truck right in front of his house, a terrible accident!
Harry was in the street with two of his friends when a truck hit him; he died instantly.
His two friends laid him on the other side of the street ...or were they really three? Why three? Why? Was there a third man? And who is he?
The Third Man is a timeless classic, they don't make films like this anymore. There’s a lot going on, and it’s all executed perfectly.
There are indeed many elements of this film that struck me Palme d'Or at Cannes.
The soundtrack:
The cheerful tune, the Harry Lime theme, for instance, sounded immediately familiar, as if I had heard it before. This piece plays often during the film which, let us remember, is a highly dramatic noir but is consistently infused with subtle irony, another characteristic and typical element of Carol Reed's filmography. This piece is played with the zither, a string instrument of Austro-German origin, reminiscent of the banjo.
The cinematography:
It captures a magnificent Vienna scarred by bombings in brilliant black and white, and the film won the Oscar for cinematography. Vienna at night is breathtakingly fascinating.
The editing:
The editing also aligns with the ironic tone, at times even comedic, setting the pace of the action. It is always very attentive to what is happening, becoming at times rigorous or carefree, depending on the situation.
The direction:
It's inaccurate to simply say the direction since I am talking about the filming techniques (direction is not only that), that is, how the camera was used, discussing the shots, camera movements, and sequences, a visual delight.
The acting:
You know the three main actors, and the supporting cast is just as noteworthy.
The dialogues:
There’s a lot of talking in this film, but not a word is wasted. The dialogues perfectly match the rhythm, which is rather brisk and compelling... and more than once they make you smile or even laugh.
The contents:
The film will confront us with a choice, presenting two opposing yet both valid viewpoints, leaving it up to you to choose one over the other or to remain in doubt.
Unmissable.
Loading comments slowly
