One of the best post-WW2 film noir movies that have ever been made where they even reunite the two best actors from the Mercury Theater, Orson Welles and Joseph Cotten. The hunt for the mysterious Harry Lime is gripping from the arrival in Vienna till it all ends in a memorable manhunt down in the city's sewer tunnels. The music hits like a bullet in the back of my bones and Alida Valli is gorgeous. A perfect film.
It's lucky that Selznick was involved, or we might have had Cary Grant instead of Joseph Cotten. Joseph Cotten was underused and under-appreciated. Apparently, Orson Welles was a bit of trouble on the set of this film. He did an excellent job of being enigmatic and sociopathic as Harry Lime. He was rumored to have written all his own dialogue, and directing his scenes. Look for the Dutch angles.
A perfect barbed gem of a film. Manages to use hella canted angles without ever feeling "wacky". Welles' Harry Lime perfectly captures what Werner Herzog would later refer to as 'the bliss of evil'. For me Reed's direction (as also in 'The Fallen Idol') counters Greene's dryness and allows one to appreciate the unbearable lightness as well as the moral seriousness of his work.
16mm. Re-watch (for the first time in 10 years almost exactly). This film takes itself so seriously, and at times is so quirky! That score! That cinematography!!! (I just learned about "the Dutch angle" tonight, oops.) Orson steals the show the second the camera hits him. A thoroughly satisfying cinematic experience.
Classic noir imagery. If I had to pick a film to exemplify noir-age film grammar, this would probably be it. The performances are memorable, with a special mention to Orson Welles, who, despite appearing for only a few brief moments, is just so much fun to watch on-screen.