Ryan McNeil
A lot of things went through my mind as I watched THE THIRD MAN for the dozenth time. I thought about the fact that it’s taut screenplay might be one of the very best of all time. I thought about the ballsy decision to keep the biggest star unseen and out of the fray until sixty-five minutes in. I even wondered how it missed a spot on Simon Columb’s five favorite Brit films during my recent podcast.
But more than anything, I thought to myself that a film like this might not even get made today. Pity, since it’s one of the very best of all time, and it’s the next one up in the 1001 Series. My full thoughts on Carol Reed’s masterpiece after the jump.
If you’ve never seen THE THIRD MAN, shame on you. Stop reading right now and track it down. For the sake of information it’s the story of Holly Martins (Joseph Cotton), who arrives in what’s left of Vienne after WWII at the request of his dear friend Harry Lime (Orson Welles). Unfortunately he arrives a few ticks too late – as he arrives to find that his friend has been killed after being hit by a car. In mourning his friend, and trying to understand what happened, Martins begins to find discrepancies…lots of discrepancies. Something is rotten in the state of Austria, and the truth about Harry Lime is underneath it all.
What makes THE THIRD MAN work so well is how it is filled with lots of little touches that make the viewer uneasy with the lies they’re being told. Consider the quiet, yet unnerving frustration we feel when Martins has to stand and enduring people feverishly talking in a language he cannot speak. It’s the sort of helpless feeling that can belittle a person in a hurry, and it happens over and over in this story as we’re trying to get to the bottom of it.
Likewise consider that often in this film, we are shown scenes with the camera set at a slight angle. Our point of view is literally off-kilter, subtly yet unmistakably telling us that what we’re seeing isn’t right. It’s cemented by the fact that everyone is acting like they have something to hide. Much like Martins, we have to work to get a firm grasp on what’s going on. We continue to have to look through the shadows, in the hopes that the light will cut through just so…and help us understand the truth about Harry Lime.
This long, meandering walk through the first two acts of THE THIRD MAN is why I don’t think it could be made today. Too often now, audiences don’t want to put this much effort into a film, even if it is punctuated with Graham Greene’s witty dialogue (“He’s dead!” “That’s unfortunate.”). It seems to me like audiences don’t want to go through cinematic Italian bloodshed and have Michaelangelo and the Renaissance to show for it at the end. They want the peace and tranquility of Switzerland in their movies, and will proudly go home with a cuckoo clock tucked under their arm.
This is a shame because as bleak as this world seems when we’re trying to piece together what happened to Harry Lime, it really takes a turn down a dark alley in its final act. Moments after our hero seems resigned to the fate of his friend, his entire line of thinking is rattled twice over, leading to a finale that is quite literally cinematic perfection. For me, it’s the best reward a patient viewer. Likewise, I cannot think of a more just fate for the weak-willed, than being denied many of the very best parts in the movie.
Let that serve as a reminder: When it comes to the films of this era, and certainly when it comes to this masterpiece, patience truly is a virtue. And blessed are the virtuous, for theirs is a filmgoing experince of untold reward.
But Ryan, Is It List-Worthy?…Without a doubt. Think about your favorite moment in a classic film – THE THIRD MAN has about a dozen favorite moments. From that wild footchase in the sewers of Vienna, to the patient view of Anna Schmidt walking down the tree-lined path, to the iconic first glimpse of Harry Lime himself. It’s a movie that rewards the patient, and on that criteria alone it deserves a place near the very top of this list.
One of my favourite films for many of the reasons you point out. The iconic reveal and the conversation on the ferris wheel are masterful moments of cinema.
It sure is a bloody good film.
In my defence of missing The Third Man from my list, it was an honourable mention! Alongside Clockwork Orange!
Maybe it should have been in there. Is it better than Lady Vanishes though? Personally, I prefer the jovial tone of a hitchcock – rather than the dark subject matter of Third Man…
On a different day that may change.
I covered this myelf many moons ago too – and chose it as a film to watch with other teachers at the school I work at too. My review of the third man
is available too, so do have a gander at that.
Overall, I would agree – it is an incredibly good film – and potentially the best British film. But not my favourite.
Simon
Blog: http://knowingviews.blogspot.com/
Podcast: http://simonandjofilmshow.podomatic.com/
Great review of a classic movie. It may not have make Simons top five last week but it made my top ten last year: Top ten British movies
@ Thistime… Indeed, and what I love is that those two moments are tow of many masterful moments in the film! I think back to Big Mike's podcast with me when discussing Scorsese and Mike asked "What can you say about a man who has more than one masterpiece?"
I feel like that with THE THIRD MAN…what can you say about a film that has more than one signature moment??
@ Simon… It's like you're going for the gold in Olympic Back-pedalling – London 2012 is just two years away!
I kid.
You're right, the film is dreary, and that could be one more thing that holds it back slightly – then again TRAINSPOTTING is pretty damned bleak too and it topped your list. For me though, the dreariness of THE THIRD MAN just draws me in deeper.
Lookin' forward to reading your review, and btw, you should join this little 1001 club of ours.
@ Fandango… Interesting, many of the films you mention did indeed make Simon's five. Great minds, perhaps??
And of course, The Third Man has that great zither score. It's truly amazing and fits so perfectly with the film. I think most people raise at least an eyebrow if you mention that to them and they haven't seen the film, but it's incredibly effective.
And that sewer chase is gorgeous. One of my favourite black and white sequences ever.
I also began to appreciate Joseph Cotten a bit more after seeing him here. he didn't do a lot for me in Citizen Kane, but he's damn near perfect here.
Though not quite as towering as The Third Man, Carol Reed's previous two films (The Fallen Idol and Odd Man Out) are both very good as well and touch on two totally different social strata. The Third Man seems to bridge over both those strata in a single film.
Dude, this movie is out of sight. Fun fact: it's Jack White's favorite movie of all-time. Hell yes it is.
This is an interesting movie for me. I really loved it, but the first hour or so really dragged along for me, something I'm sure won't be quite as big a negative upon a second viewing. Can't wait to revisit for the 1001 movie club 🙂
@ Bob… You couldn't be more wrong – that zither score was killing me!!!
I kid, I kid.
The only thing I was slightly surprised with about that chase was how quick a scene it actually is. I can't for the life of me figure out why, but I seemed to remember it being much longer.
@ Aiden… Guess that explains why his label is called "Third Man" records huh? I just re-watched UNDER GREAT WHITE NORTHERN LIGHTS this weekedn too, btw.
@ Univarn… Yeah, see that's what I'm saying. The way the average viewer's brain is wired, those opening two acts seem awful slow. Pity too since they're such a delightful set-up, especially with so many of Holly's witty comebacks.
Can't wait to read your post on it!
I feel dumb, I've never seen this.
I have joined 1001 movie club!
My favorite part of the movie is the ferris wheel conversation and how it ended with that great little cuckoo clock monologue.
Took me a second run through to fully appreciate the movie. Just love it!
@ Andrew… Don;t feel dumb. Many's the moment I've wished I could go back and experience seeing for the first time all over again. Give it a rent and thank me later.
@ Simon… Just in time. We have some doozies coming up including 2001!
@ Marc… That whole scene is friggin brilliant. I was so amazed by the way Welles seems to alternate between jolly and menacing with evry other sentence.