Unlike the other two films we've looked at so far on (Re)visiting A Classic, there isn't a lot of background information available on 1949's noir mainstay "The Third Man." There's no insight as to what motivated Graham Greene to write the story or how Orson Welles became attached to the project. Aside from an impassioned article by Martin Scorsese, it's even difficult to tell how much impact it had on the film industry as a whole. However, the purpose of this segment isn't to talk about influence. It's to talk about how the quality of these films hold up in terms of objective technical skill and how they're effected by subjective generational view. So, can this post WWII thriller still strike a chord with anybody born after 1996?
The film is set in post-WWII Vienna where American pulp writer Holly Martins (Joseph Cotten) has arrived looking for his friend Harry Lime (Welles). However, everybody believes that Lime is dead, being hit by a car just a few days prior. The only doubtful one is Martins, who suspects a conspiracy around a mysterious "third man" who was present at Lime's death. He begins a quest for answers, all the time being watched by British Major Calloway (Trevor Howard) and falling in love with Lime's grieving lover Anna (Alida Valli).
Right up front, there's a lot to like about "The Third Man" on a purely filmmaking level. The low-key lighting from cinematographer Robert Krasker makes every shot a masterpiece in its own right, casting gorgeous shadows that symbolize the line between good and evil the film explores.
Director Carol Reed frequently uses Dutch angles throughout the film to emphasize a sense of unease that the characters and audience are supposed to be feeling. While this wasn't the effect I experienced during my viewing, the angles look good and aren't distracting, so it's not exactly a problem.
The costume design hammers home the noir atmosphere proficiently. Trilbies and ankle-length coats flood the screen and the staple femme fatale is decked out in a classy dress and hat. Because the film is in black and white, it's difficult for the costumes to do much storytelling with color. However, there is some attempt, with Harry Lime's black coat contrasted against the light clothing of the other characters.
The acting is, of course, top-notch. I've always thought there was something more authentic about acting in older Hollywood. The movement seems natural, like the actors are the characters rather than trying to play the characters. Welles in particular has a chance to show off his range; he's practically unrecognizable from his role in "Citizen Kane."
Despite only being a few notes on a guitar, the main theme is incredibly catchy and memorable. It gives off a sense of playfulness that contrasts with the dour tone of the rest of the film.
Like with a lot of older films, audio is an issue. The dialogue sounds muffled even when there isn't any excess noise. Combined with the quick delivery of the dialogue it sometimes makes it difficult to tell what the characters are talking about.
There's surprisingly little visual storytelling. While much of the tone is portrayed through the incredible cinematography and lighting, the actual plot points are told largely through dialogue. However, there are a few fantastic moments that are done entirely with the camera. A scene in a ferris wheel stands out in my mind because the dialogue is just a layer covering the characters' true motivations, which you're meant to peel back by observing their actions.
With the technical pedigree of the film firmly established, we must now look at how generational detachment effects the viewing experience. However, in this case, it's not just time which separates me from the film, but location. Life for most of Europe after WWII was very different than it was for America. Besides Pearl Harbor, American land was barely marred by the conflict, either physically or economically. In Europe, however, most of the continent had been trampled, blasted and bombed into an unrecognizable hellscape. Several Allied countries were in debt and thus couldn't afford to fix the damage. While the late 40s in America was the start of a veritable golden age, for Europe it was the beginning of one prolonged anxiety attack.
This background is important to consider because history is an integral part of our cultural identity. What happened in the past shapes the present, including national attitude. Being culturally and historically removed from the tension of post-war Europe, I imagine I don't have a good chance of fully appreciating or understanding "The Third Man" as much as somebody my age would across the pond.
While the full impact of "The Third Man" is lost without the proper cultural baggage, it's still an impressive feat of technical filmmaking. The story is an intriguing mystery, the cinematography and lighting are sublime and every repeat watch is more rewarding than the last. It's currently on Netflix, so you have no excuse not to watch this as soon as possible.
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