The Third Man

Carol Reed’s The Third Man (1949) is one of the pinnacles of British cinema, and Reed made certain of it. Graham Greene’s script originally conformed to a happy ending which would have circumvented much of the film’s central force and Reed combated this idea, so that the film truly begins and ends at a cemetery. Likewise, Reed fought for this cast, denying then godhead David O. Selznick his vision. Moreover, Reed brought local musician Anyon Karas to provide the soundtrack, introducing the now famous zither into scenes and allowing the film its sole spryness.

Largely, this film is an elegy to the innocence of time gone by and the manner in which people lose their lofty idealism after the war. Western novelist Holly Martins (Joseph Cotton) holds no pretensions toward greatness, but when his friend Harry Lime rescues him by flying him over to Vienna, Martins looks forward to the reunion. Alas, Lime and the city are old empires now in ruins. Lime has been struck dead by a car and Vienna itself is in the throes of a black market that can secure medical comfort and wares that are otherwise absent from daily life.

The corrupt city is swollen with paranoia and weariness, and this expressionistic quality is matched seamlessly by the cinematography, which is similarly tilted and askew. As Martins tries to negotiate a life in this barren yet opportunistic city, he also tries to solve who the third man was that pulled Lime off the road. This leads him to Anna Schmidt (Alida Valli), Lime’s mistress who habitually confuses Holly for Harry. Though Martins wants to make good, he also has shortcomings and seeks to impress upon Anna his love and moralistic vision, which just pushes her away.

The less mentioned about this film the better the viewing experience is, for its loaded with peerless set-pieces, chases, speeches, and memorable shots all around. This film is a certifiable classic, and among the few post-war films that captured the zeitgeist of a generation, laying claim to the spirit of betrayal that masquerades as loyalty.

The Third Man: 10/10