Still holds strong as a slowly unfolding Film Noir. The cuckoo clock speech/scene never gets old for me. Wonderfully shot with delicious canted (dutch) angles that help increase the tone and mystery we find ourselves pulled into, this film is a great classic to revisit from time to time. Only the zither music doesn't work for me. I know some people love it. But it's not my thing. That aside... great film.
Carol Reed's "The Third Man" is an engaging piece of film that keeps the audience thinking at every turn. The combination of Dutch angles and music that doesn't quite fit the tone of the scene gives the viewer a very "tilted" cinema experience. Another incredible part of the film was the cast. Orson Welles did a fantastic job playing the enigmatic Harry Limes while Joseph Cotton played a very entertaining protagonist
Stupendous to look at and the visual language had a lot to say but nothing else did, much. Vastly overrated by “film buffs” who are highly suggestible and lemmings for consensus as well as preemptively nostalgic for nostalgia. Watch Third Man then watch Night of the Hunter. No contest.
A nice Noir thriller with some beautiful chiaroscuro shots and a wonderfully evil performance by Orson Welles. It drags a bit at times but it is well worth it, especially to get to the tense and philosophical third act. Everything might not seem important at first, but it all ties together in a seamless way. An impressive balancing act of art and entertainment. That one music track they repeat is annoying though.
Unparalleled and magnificent in every way. So glad there is not an orchestral score: the zither music is intimate to match the viewpoint of the film as we experience everything through Martin. So many movies have since parodied or paid homage to sequences and shots in this film; understanding its originality at the time can be difficult. Welles' reveal is one of the most memorable ever. Phenomenal pacing.
35mm. "The Third Man"-ish is something I sometimes say to describe a certain feeling, of a city with mysteries hiding in the shadows, shady deals and people up to no good. I would have liked to see a re-make in a city like for example Kabul, with American generals, Chinese businessmen, local warlords etc. "The Third Man" is good indeed, but slightly overrated in my book.
Noir o film espressionista? Uno dei migliori neri, girato in una Vienna degna del dr Freud. Grande cast. Alcune sequenze da incorniciare [spolier alert]: il bambino che accusa in tedesco il protagonista di essere l'assassino, il giro sulla ruota del Prater, l'inseguimento nelle fogne, il momento in cui Welles appare la prima volta sullo schermo. Ancora oggi un godurioso must
3-4. What does the end tell us? One part of it is that Holly turns away from his own humanism in order to act humanistically toward his lady love. And this ultimately damns his final attempt to be 'there' for her. I was initially prepared to class this as a mere existentialist tangle given the way it probes the blend between fact and fiction; truth and reality. But it's a touch more complicated.
You can fooled that your getting into a comedy at the start and then the film takes on that subtlety darker tone to it. It's probably no surprise that Orwell steals this film playing a completely deplorable human being, but after seeing that impish smirk he's already manipulated the audience. You just can't help but like the son of a bitch! Yeah it's noir classic that shows the still darker side after World War 2.