- Directed by Carol Reed
- From a story by Graham Greene
- Starring
- Joseph Cotton
- Valli
- Trevor Howard
- Orson Welles
- Zither music by Anton Karas
Oh, what a joy to re-visit one of my favourite films of all time.
Although not the best print I could find [rented from Youtube] it still brought back all the beauty and excitement of the original.
Set in post-war Vienna, which is a city in ruins and divided into 4 sectors - British, American, Russian and French, it tells the story of a corrupt gang of men defrauding hospital drug supplies, and selling drugs on the black market, and consequently murdering and maiming patients in the process. Led by the charismatic Harry Lime, Orson Welles, the group are constantly under surveillance and Lime fakes his own death in order to take the heat out of his nefarious activities.
Enter, his best friend from America, Holly Martins, played by Joseph Cotton, who arrives on the day of Lime’s ‘funeral’, and the scene is set for 90 minutes of film noir magic. Joseph Cotton was never better.
A great cast is assembled by Reed and Selznick, the producer. Trevor Howard, a great character actor, is gruff and stern as the British commander, ably supported by that fine English actor Bernard Lee.
Valli, who when Selznick brought her to Hollywood, was known as Alida Valli, has now been reduced to the single Valli for credit purposes. It was thought to be more exotic. You will remember her from Alfred Hitchcock’s ‘The Paradine Case’.
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Some great cameos are given by a wealth of European actors and Wilfred Hyde-Whyte almost steals the show as an eccentric Englishman who presents cultural evenings for displaced Britishers.
The cinematography by Robert Krasker is outstanding and in many ways is the star of the film. Low camera angles reveal darkened streets and grotesque shadows as the camera moves through the city. The finale, which takes place in the sewers below Vienna, is a broad palette of light and shade against the rushing waters, juxtaposed with darkened stairs and ladders. The shadow of a balloon seller approaching in the darkened streets is a beautiful moment and the memorable final image of Lime’s hands through the sewer grating at street level, with a breeze blowing, is one to haunt you for years to come.
Harry Lime’s first entrance with his cat is one of cinemas legends and when the light from an upstairs window hits his face, we see everything we need to know about the man. Welles at his best.
The famous ferris-wheel scene is similarly gripping. Will Harry throw his friend out of the carriage, or will they descend to the ground?
Lime runs a lot of the time, and the camera is always on his heels.
Valli as Anna Schmidt, Lime’s mistress, is torn between her love for him and her disquiet at his profession. However, love wins out and she tries to save him to the end. Martins, is obviously attracted to her, but she doesn’t want any of that. However, there is a psychological quirk happening throughout as Anna keeps referring to Holly as Harry.
The final shot is the stuff of legends. We finally have Harry Lime’s funeral. Anna and Holly are in attendance. Holly thinks he may still have some hope with Anna, and he stands at the cemetery gate as she starts to leave. She walks, in a great long shot from the grave to the gates. Will she acknowledge Holly? Will Holly be able to offer some comfort? No, Anna walks straight to the camera and passes Holly by. A great ending.
The music score by Anton Karas, must be mentioned. Never has a score been so associated with a film as in this case.
The film was lauded all over the world, except in Vienna. To this day, the Viennese do not want to be reminded of that time in their history. Although, there is one small cinema in that city which, to this day, shows ‘The Third Man’ twice a week.
I first saw this film in 1949 and have seen it many times since. It truly is a classic.
Star Rating: 4/5 [Should have been 5/5, but, as I said, a very inferior print from Youtube.] [Should have been 5/5, but, as I said, a very inferior print from Youtube.]