The Third Man Reviews

I had actually already seen this movie but it was such a long time ago, I could barely remember it, so it was really time for a re-watch. On top of that, one of my colleagues gave me this DVD so I had another good reason to check it out again. Well, it definitely deserves its stellar reputation, that’s for sure. Indeed, it is probably one of the best film noir ever made and the whole thing was quite pitch-perfect. First of all, Vienna, at the end of the WWII, was a  really murky place, it was the perfect spot for such a story and those chases down the sewers have become quite legendary by now. I also really enjoyed the dialogues which were sometimes almost hilarious but , above all, I really liked the fact that all the characters were far from being perfect, in the contrary. Even the main character was pretty much a loser,  a writer of cheap novels who seemed to be borderline alcoholic and the gorgeous Alida Valli, probably the least reprehensible character, was also seriously naive. The only slight issue I had is that I didn’t really understand the motivations of Harry Lime. Indeed, why did he actually ask his friend Holly Martins to come to Vienna? Why did he actually show up again to meet his friend? Maybe I missed something and should check it out again at some point.  Anyway, to conclude, it is a very good film noir and it is definitely worth a look, especially if you like the genre. 

The Third Man is an indelibly memorable thriller - an impeccable blend of stylish film noir, drama and provocative mystery. The brilliance of this captivating masterpiece is continually reflected by critics worldwide. Look at the Top 10 list of a professional critic - it's guaranteed that you'll find movies such as Citizen Kane, Casablanca, The Godfather...and of course The Third Man will be featured. This alone symbolises its virtuosity, and gives one an idea of the company it keeps. The film is so mesmerising that even Martin Scorsese penned a treatise on the thriller as a film student. Now Scorsese is one of cinema's greatest directors. His inspirations for the thriller genre are derived heavily from The Third Man. The film is held in such high esteem, in fact, that it's hard to imagine a movie buff who hasn't watched it at least once. Further researching the critical acclaim, I truly cannot believe it took me so long to finally watch it. It isn't difficult to determine the reason behind the film's popularity; it has the correct actors, setting, mystery, atmosphere, humour and music. Director Carol Reed carves an expressionist wonderland of immense ominous shadows and peculiar camera angles - a world of an uneven balance where ethical order has descended as low as the everlasting sewers. Friendship, love and hope are extraneous ethics in the face of Harry Lime's Darwinistic philosophy...where the pursuit for veracity is a double-bladed sword.

It seems virtually redundant to provide a plot synopsis for this film, as it is assumed the plot is known among movie buffs and cinematic enthusiasts. The film's charm is also so overwhelming because very basic knowledge of the plot guarantees more enthralling viewing. Hence I shall provide a synopsis as I'm bound by my personal review-writing traditions, but I will be brief.
The Third Man finds moderately successful American pulp fiction novelist Holly Martins (Cotten) travelling to Vienna in its post-war period. Martins was lured to Vienna by old childhood friend Harry Lime (Welles) who promised him a job. Upon arrival he is soon informed that Harry tragically died fairly recently in a car accident. As the police investigate, Martins senses something more than an accident has occurred. He begins interviewing Harry's closest acquaintances and discovers stories that occasionally contradict the official line. Martins is told that two men dragged Harry off the road, while another witness claims three men were at the scene.
The title is derived from Martins' subsequent quest to uncover evidence regarding this enigmatic "third man".

Director Carol Reed was one of the most successful directors during the 1940s. His other films include Odd Man Out and The Fallen Idol. In later years directors such as Alfred Hitchcock would emerge with far more thriller masterpieces. With The Third Man, Reed has created a tour de force that he was never able to match previously or subsequently. Its potency and influence remains undimmed. No spurious nostalgia shrouds its strength and disparagement; the film is a faultless combination of the arts of directing, screenwriting and acting.

Cinematographer Robert Krasker earned an Oscar for his wonderful photography. The film is captured in glorious black and white: each shot is permeated with visual flare and intrigue, while bursting with cinematic elegance. There is never a wasted shot as every scene and every edit serves a narrative purpose. Vienna's grand architecture, its decrepit and deteriorated walls, and its ominously fog-enshrouded back streets institute a moody atmosphere that enhances the mysterious occurrences of the plot. Reed photographs the city from virtually every angle except straight-on. There's scarcely a direct angle to be witnessed. Everything is ever so vaguely cockeyed: this infuses the film with a peculiar, surrealistic eminence. The lighting is especially novel and innovative. The most memorable shot of the entire film is when Welles first appears...his enigmatic character being illuminated by a single light from a window that only reveals his unmistakable face. With every citizen looking malign, from infants to cab drivers, it's a combination to achieve a world where nothing is as it appears to be.

Camera techniques aside, The Third Man has yet another enthralling contribution to add: the haunting, remarkable, perfect zither music courtesy of musician Anton Karas. That tune...that main theme will haunt you repeatedly for days. It's absolutely impossible to forget the evocative use Anton's zither which is the only instrument used for the score. A paradoxical mix of the cheerful and melancholic...its frigid timbre encapsulates the alchemy of The Third Man and presents yet another dimension. This tone emphasises all of the action and is a crucial part of the picture...as important as the actors or plot. In fact, Anton's music became so popular that it made him a global star, and the theme became everlastingly linked with the film in viewers' minds. Yet its utilisation in the movie was a last minute decision. Director Reed discovered the musician playing tunes during a party just before the film went into production. Following small debates with the producers, Reed hired Karas to compose the musical score.

Apparently the title role was to be played by someone like James Stewart or Humphrey Bogart. All are great actors, but Joseph Cotton does a sublime job as Holly Martins. Cotten is spot on, contrasting a debonair urbanity with a discreet naiveté as he blunders into situations beyond his comprehension or hegemony. Orson Welles is perhaps best known for his celebrated classic Citizen Kane. Welles' glorious cameo lasts about five minutes, and he's introduced over an hour into the story as the enigmatic and mysterious Harry Lime. This is Welles' defining cinematic moment as he creates a persona far more complex and intricate than any other movie from his career. Out of the limited key scenes, Welles' lips generate words very scarcely. His story is told by the shadows and setting in addition to his hauntingly memorable dialogue. Also on display are fantastic performances from Alida Valli, Trevor Howard and a young Bernard Lee.

Overall, The Third Man remains a potent cinematic masterpiece. At times it's not as suspenseful as it wants to be, however this is essential viewing for anyone who calls themselves a movie buff. Carol Reed's The Third Man is essential for its mind-blowing technical merits and original story. Now the story may be looked upon as clichéd and unoriginal, but at the time of release it was unheard of. In later years films like Get Carter followed the formula of a civilian conducting his own investigation into the death of someone close. All these films have taken notes from this powerful classic. This is a revolutionary film noir that boasts truly passionate filmmaking and stunning central plot turns. Highly recommended!

9.2/10