The Third Man (1949)

Directed by: Carol Reed | 104 minutes | crime, thriller | Actors: Joseph Cotten, Orson Welles, Alida Valli, Trevor Howard, Bernard Lee, Paul Hörbiger, Ernst Deutsch, Siegfried Breuer, Erich Ponto, Wilfrid Hyde-White, Hedwig Bleibtreu

Anyone who has ever seen lists of the top 100 most legendary movie villains of all time has undoubtedly seen the name of Harry Lime somewhere between Hannibal Lector (‘The Silence of the Lambs’) and Norman Bates (‘Psycho’). This Orson Welles creation from ‘The Third Man’ is a memorable movie character, despite the fact that the film is already two-thirds over when it first appears on the scene. Just the way Lime makes his entrance – he suddenly emerges from the shadows of a niche – stays with the viewer. This Harry is the devil in his very own person – diabolical and immoral, but at the same time extraordinarily charismatic. ‘Citizen Kane’ may have been Welles’ most important film, but his contribution to ‘The Third Man’ is just as memorable.

Holly Martins (Joseph Cotten), a gullible American author of third-rate adventure novels, comes to Vienna to lecture to a cultural society. Upon his arrival, Holly is stunned to learn that his childhood friend Harry Lime (Orson Welles) has recently been mysteriously killed and involved in some shady business. Holly is not satisfied with the explanation of the police and investigates herself. In search of the ‘third man’, who allegedly dragged Lime’s body away, he comes into contact with one of Lime’s friends (Alida Valli) and a whole host of untrustworthy types. In doing so, he discovers that Harry was not (anymore) the man he once called his friend. As everyone but Holly already knows, Harry faked his own death to escape Police Officer Calloway (Trevor Howard).

‘The Third Man’ is a film that is extremely well put together. It’s not that the script – officially written by Graham Greene, but it is known that Welles and director Carol Reed also had a big finger in the pie – is that exceptional, but the decoration of the film is especially sublime. Just take the rich, foreboding and Oscar-winning cinematography of Robert Krasker. Shortly after World War II, Vienna – divided into four zones like Berlin by the Allies – is a largely destroyed ghost town and also a fantastic backdrop for a film noir like this one. Reed and his team were able to shoot their film on location, capturing a terrifying, highly realistic environment. The lighting, the many skewed shots and of course the look of Vienna, which had been flattened during the war, make ‘The Third Man’ a particularly well-photographed film. The music is also remarkable; the soundtrack is packed with tunes Anton Karas played on his sitar, an instrument that hadn’t been used in movies until that point.

The acting also adds to the power of the film. Of course Orson Welles steals the show with his brilliant portrayal of the mysterious Harry Lime, but don’t forget Joseph Cotten. Director Reed actually wanted James Stewart for the part, but producer David O’Selznick pushed through and pushed Cotten forward (to the satisfaction of Welles, who had been good friends with the actor for years). Fortunately, because Cotten is the ideal actor to play Holly Martins. At the start of the film, he’s still the innocent and naive writer of western junk, but by the end you can tell he’s hardened and has learned tough lessons about friendship, loyalty, and justice. Italian actress Alida Valli plays one of her best roles in an English-language film. As the mysterious Anna, friend of Harry, she sometimes even reminds of Ingrid Bergman. Trevor Howard also stands his ground as Police Inspector Calloway.

For fans of film noir, ‘The Third Man’ is one of the genre’s masterpieces and a must-see, with a compelling story and artistic delights. All ingredients are there; a captivating script, one of the most legendary movie villains of all time, innovative direction, jaw-dropping cinematography and an unforgettable soundtrack. No wonder this film has captivated movie buffs for over five decades!