1. Plot and Story
Vienna, 1948. The city is divided. Each part is controlled by a different power. This is the setting for "The Third Man." The film captures the intrigue of post-war Vienna. We meet Holly Martins, a broke Western novelist invited by his friend, Harry Lime. Bad luck strikes when Holly finds Harry dead.
Holly Martins' Arrival in Vienna
Our main character, Holly Martins, is played by Joseph Cotten. He's an American doing pulp Westerns. Picture him arriving in Vienna for a reunion, expecting warmth and friendship. Instead, he faces harsh reality. Harry is dead. Post-war Vienna is a place of shadows. Holly struggles with many questions, leading to a clash of friendship and dark truths. Vienna is no friendly Wild West.
Harry Lime's Supposed Death and the "Third Man"
Initially, Holly hears a clear, tragic story. Harry Lime died in a traffic accident. A car hit him while crossing the street. Simple, right? Not in Vienna, especially in a noir film. Holly suspects foul play quickly. He begins to investigate. The narrative becomes much more complicated. Someone mentions a “third man.” Witnesses claim three individuals carried Harry’s body, not two. Who was this mystery figure? This “third man” disrupts the official narrative and hints at a conspiracy. The porter who mentioned it dies soon after, sending a warning that some questions are dangerous. This detail isn't just a plot point; it embodies deceit and intrigue in post-war Vienna.
Martins' Investigation and Interference from Major Calloway
Holly decides to act like a detective. He believes Harry’s death hides deeper truths. He will uncover them, even if they lie deeper than Vienna's sewers. Enter Major Calloway, played by Trevor Howard. Calloway is a British military officer, cynical and pragmatic. He becomes Holly’s main obstacle. He urges Holly to stop his search, insisting Harry was a criminal. Calloway represents a clash of ideals. Holly is an idealist; Calloway is a realist, jaded by experiences. Their exchanges highlight the tension between them. Calloway's wisdom contrasts with Holly's desperate quest for the truth.
Martins' Relationship with Anna
Amongst the intrigue, we find Anna Schmidt, Harry's lover, played by Alida Valli. She adds complexity to Holly's story. He feels drawn to her—out of compassion or desire. Their bond develops amid Holly’s investigation, bringing a romantic element to the noir atmosphere. Initially, Anna keeps her distance, shrouded in grief and secrets. Holly’s determination slowly wins her over. Their relationship is complex because of Anna’s loyalty to Harry, something Holly struggles to grasp as he uncovers Harry's dark side. This budding romance offers warmth in "The Third Man"'s cold world, even as it entangles with Harry Lime's lies.
2. Characters
"The Third Man" features memorable characters. Each plays a crucial role in this compelling narrative. From the naive writer to the charismatic villain, they enrich the film’s story. Let’s look at the key figures in Vienna.
Holly Martins: Protagonist, American Author
Holly Martins guides us through "The Third Man." He writes pulp Westerns. This isn’t exactly prestigious literature. Joseph Cotten captures Holly's mix of naive idealism and determination well. He arrives in Vienna for a reunion with Harry Lime but finds himself in a mystery much deeper than his stories. Holly feels out of place, a romantic in a cynical world. His main goal is simple: loyalty to his friend. He struggles to believe Harry’s accusations and fights to clear his name. His idealism clashes with grim realities as he digs deeper. Holly isn't a detective; he is clumsy and impulsive. However, this naiveté makes him relatable. We see his worldview change from black-and-white to gray shades of morality in post-war Vienna. Even amidst corruption, he holds onto decency, making his choices impactful.
Harry Lime: Antagonist, Portrayed by Orson Welles
Then there’s Harry Lime. Even if you haven’t seen the film, you’ve heard of him and the zither theme that signals his entry. Played by Orson Welles, Harry is both antagonist and ambiguous character. He’s spoken of quietly, his presence felt even before appearing. When he does appear, it’s dramatic. Emerging from shadows, Welles captivates and unsettles. Lime is charming yet immoral, seeing only shades of gray in ethical matters. His notorious "cuckoo clock" speech exemplifies his cynical outlook, dismissing morals as illusions. His charisma is dangerous and fascinating, making him more than just a typical villain. Lime's motives stem from survival and ambition, complicating his character further. His friendship with Holly explores themes of trust and betrayal. He embodies post-war Vienna’s corruption and moral ambiguity. Despite his flaws, he's magnetic—a character you can't ignore.
Criminal Activities: Black Market Penicillin
Harry Lime is not just charismatic; he is also a criminal. His main operation involves black market penicillin.
was high. Lime took advantage of this urgency with ruthless efficiency. He sold diluted penicillin that proved nearly useless and often harmful. His actions had dire consequences. Many people, including children, suffered and died. This is not an abstract crime; it has tragic real-life effects. Lime's villainy is even more contemptible. When Holly uncovers Harry's crimes and their effect on innocent children, it shifts his view of his old friend. The black market penicillin symbolizes moral decay in Vienna, with Lime at its core. His greed underscores his moral failure, cementing his role as the antagonist. Charm can hide a dark heart.
Faking His Death: Motivation and Method
To avoid justice for his crimes, Harry Lime fakes his death. He stages a car crash, using a body double to fool authorities into believing he is dead. This deception lets him vanish from records and continue illegal dealings underground, deep within Vienna's sewers. Faking his death serves not just to escape justice; it’s a tactical move to keep his operations going free from disturbance. This shows his cunning and total disregard for the emotional damage he inflicts, particularly on Anna. The staged death adds mystery around Harry. For much of the film, he remains a ghost, a rumor, a figure of speculation. His absence makes his later return dramatic. Harry's motives are self-preservation and greed. He deceives everyone, even those near him, to keep his freedom and criminal ways. Faking his death represents the greatest betrayal, igniting the film’s events and forcing Holly to face the painful truth about his childhood friend.
Anna Schmidt: Harry Lime's Girlfriend, Portrayed by Alida Valli
Anna Schmidt, played by Alida Valli, is Harry Lime's girlfriend. She’s more than a love interest; Anna represents moral complexity in "The Third Man." Shrouded in grief, she seems heartbroken by Harry’s death. However, she harbors her own secrets and loyalties. Initially, she is wary of Holly. Suspicious of his intentions, she fiercely protects Harry’s memory as his criminal past surfaces. Anna is a survivor in post-war Vienna, navigating uncertainty and moral compromises. Her relationship with Harry is not idealized; it is complicated and perhaps codependent. She knows about Harry’s darker side but remains loyal. This loyalty can frustrate Holly at times. Anna embodies Vienna's moral ambiguity. She is a strong woman facing difficult decisions in a harsh world. The choices she makes at the film’s end are vital to understanding its themes of disillusionment and the limits of love amid moral failure.
Fate at the End of the Movie
The ending of "The Third Man," especially regarding Anna's fate, is both memorable and heartbreaking. After the intense climax and Harry’s demise, Holly still clings to hope for a future with Anna. He waits by the roadside, seeking some connection, some recognition of shared moments. Yet, Anna, notably diverging from Graham Greene's novella, walks past him without a word or glance. This rejection feels stark and definitive. It emphasizes the film's overarching cynicism and bleak outlook. Anna's future remains uncertain. Perhaps Major Calloway, who shows some sympathy towards her, might offer support. Or due to Vienna's political climate, she could be taken in by the Russians. Regardless, her future is fragile. Still, in her silent rejection of Holly lies strength and independence. She remains dignified amid daunting loss and uncertainty. This ending powerfully reflects post-war Europe’s realities; happy endings are rare and survival means confronting a bleak future with courage.
Major Calloway: British Officer
Major Calloway, portrayed by Trevor Howard, is the British military police officer who acts as Holly’s main antagonist while also providing stark realism. Calloway embodies British pragmatism and world-weariness. He has witnessed humanity’s worst side and maintains no illusions about reality or people. From their first meeting, Calloway clashes with Holly’s naive idealism. He attempts to deter Holly from searching into Harry’s death, revealing facts about Harry's crimes. Calloway isn't malicious; he aims to prevent trouble and shield Holly from an understanding of a brutal world. He represents the established order in chaotic Vienna. As an authority figure, he stands in contrast to Holly's romantic ideals. Despite his initial opposition to Holly, Calloway has moments of sympathy. He sees Holly’s innocence yet recognizes his decency. There are signs of weariness and sadness in him as he observes daily moral decay. He is not a villain; he is shaped by his environment and hardened by war's realities. Calloway proves crucial to Holly's journey, challenging him to face post-war Vienna's harsh truths and the real nature of his idealized friend, Harry Lime.
Other Characters: Sergeant Paine, Popescu, Crabbin, Hansel
"The Third Man" boasts a rich ensemble of supporting characters who, while not central to Holly’s story, enrich the film's world. Sergeant Paine, played by Bernard Lee, is Calloway’s trustworthy and approachable subordinate. He offers a human touch amid Calloway's cynicism about military presence. Popescu, initially Tyler in Graham Greene’s novella, emerges as a shady racketeer personifying Vienna’s moral corruption. The shift to Popescu likely aimed to avoid overtly Americanizing the criminal aspect and instead created a more generically "foreign" figure. Crabbin, played by Wilfrid Hyde White, is a cultural bureaucrat reflecting the often-ineffectual institutions amid post-war chaos. He introduces a dose of bureaucratic absurdity to the plot. Hansel, portrayed by Herbert Halbik, is a lesser character but essential; likely one of Harry Lime's associates that underscore the network of dark figures in Vienna's underbelly. These supporting roles, though limited in time, help craft the film’s atmosphere and reinforce themes of corruption, moral ambiguity, and post-war Vienna's complex social fabric. Each character enriches Holly's journey, shedding light on the city and revealing Harry Lime’s true nature.
3. Themes and Meaning
"The Third Man" is not just a thrilling mystery; it explores post-war Europe’s moral complexities, Cold War realities, and timeless questions about friendship and loyalty. Let’s unpack the profound meanings woven into this cinematic work.
Moral Corruption in Post-War Europe
At its core, "The Third Man" tells a stark tale of moral decay in a war-torn world. Post-war Vienna appears as a morally ruined city. The black market flourishes, desperation grows, and ethics blur in survival struggles. Harry Lime's penicillin scheme serves as a potent symbol of this corruption, exploiting the suffering of the most vulnerable. The film depicts grim realities of
This environment fosters opportunism and cynicism. The occupying powers, meant to maintain order, are also involved in this moral grey area. Characters like Popescu and Crabbin display corruption, from crime to bureaucratic neglect. Holly confronts moral compromises, despite his initial idealism. The film shows that moral absolutes are hard to keep, as good intentions can lead to murky outcomes. Vienna symbolizes this decay, with its dark streets mirroring societal shadows. "The Third Man" warns about the allure of corruption and its lasting human costs.
The Cold War and Espionage
"The Third Man" may not be a spy thriller, yet Cold War tensions run deep in its narrative. Vienna, divided by Allied factions, mirrors the emerging divide. The British and Russian characters present an atmosphere of mistrust. The "third man" symbolizes espionage's hidden agendas and secret operations. Power struggles between intelligence services pulse through the story, focusing on personal drama over political intrigue. Calloway’s police and Russian hints create Cold War tension. Released in 1949, it resonated with the audience aware of global strife. "The Third Man" relates Vienna to themes of intrigue and the fear that marked the Cold War era.
Friendship, Loyalty, and Betrayal
The bond between Holly Martins and Harry Lime drives "The Third Man," unpacking friendship, loyalty, and betrayal themes. Holly initially seeks to honor his friend Harry's call. He resists negative assessments about Harry. His search partly aims to reveal Harry’s innocence or clarify his death. But as Holly learns of Harry's crimes, his loyalty faces strain. Harry symbolizes betrayal, undermining friendships and exploiting victims through crime. His "cuckoo clock" speech showcases his callousness toward loyalty and connection. Holly’s journey reveals disillusionment, confronting a friend he once admired. The tragic end of Holly killing Harry embodies the consequences of betrayal; it is a final act for justice, even if it ruptures their bond. The film underscores that true friendship needs love, trust, and loyalty somehow lost to deceit.
Illusion vs. Reality
Symbolism
"The Third Man" teems with symbolism that underscores deeper ideas. The title itself suggests layers beyond simple meaning, hinting at unseen forces in Vienna’s world. The "third man" suggests espionage's secretive nature; Holly journeys deeper into moral corruption.
The "Third Man" as a Symbol of Espionage
The elusiveness of the "third man," seen near Harry Lime’s accident, symbolizes espionage vividly. In post-war Vienna, a city divided by allegiances, it hints at covert agendas. This unknown figure signifies espionage's secretive essence, representing individuals operating under veils of secrecy. The mystery surrounding him echoes the film’s atmosphere of distrust—an atmosphere defined by hidden foes and imminent threats. Holly's pursuit of the third man's identity mirrors a quest through layers of secrecy inherent in espionage's world. This enigma encapsulates paranoia surrounding who one can trust.
Harry Lime in the Sewers as the Underworld or Christ's Crucifixion
Harry Lime’s descent to Vienna's sewers carries weighty symbolisms. The sewers, dark and winding beneath the city, represent Harry's moral decline. Hiding in darkness suggests falling into societal corruption's depths, parallels drawn with Dracula. This imagery evokes a sense of decay reflecting Harry's actions and his separation from normal life. Some interpretations even liken Orson Welles’ character to Christ in the sewers — a surprising comparison. He descends into death while pursued by a friend. It acts like a twisted inverse of Christ; a man descending unwillingly towards redemption or moral order restoration. While perhaps unintended, this adds depth to Harry Lime's character and tragic arc.
Holly Martins as American Idealism
Holly Martins embodies American idealism confronted by post-war Europe realities. He arrives believing unequivocally in good versus evil, shaped by Western tales. Yet Vienna erodes these clear distinctions with cynicism and complexity arising from Harry Lime’s actions. His journey embodies disillusionment as he faces nuanced moral landscapes far richer than imagined initially. Holly's idealism clashes with Calloway’s pragmatism and Harry Lime’s corruption. Yet, his push for justice reflects an American belief in moral clarity despite cynical surroundings.
Anna rejects Holly. He is left alone. This shows the limits of idealism against deep-rooted corruption and human complexities. Holly is a tragic figure, his idealism tested by Vienna's harsh realities. He symbolizes the clash of American optimism and Europe’s post-war weariness, noted in critical analyses of the film.
4. Film Elements and Style
"The Third Man" excels in storytelling. It is a filmmaking masterclass. The blend of direction, screenplay, cinematography, and music creates a memorable atmosphere. Let’s look at the key elements and styles that make "The Third Man" a visually and aurally striking film.
Directing by Carol Reed
Carol Reed's direction is praised as essential to "The Third Man." He is often considered "underrated," but his work is notable. Reed’s directing has innovation and clarity. He uses Vienna's locations as a character itself. His camera angles, especially low angles and tilted "Dutch angles," create unease and disorientation.
These angles mirror the moral landscape of post-war Vienna. Reed builds suspense with expert pacing. He guides actors to nuanced performances that reveal character complexities. His teamwork with Graham Greene on the screenplay and with cinematographer Robert Krasker creates a unified vision. Reed's direction immerses viewers in "The Third Man." It combines storytelling and visual artistry. His techniques and attention to detail keep the film captivating over decades. This film showcases the synergy between "Carol Reed, Graham Greene, and The Third Man."
Screenplay by Graham Greene
The screenplay by Graham Greene supports "The Third Man." It provides the intricate storyline that drives the film. Greene was a master storyteller, crafting suspenseful scenes and witty dialogue. Each twist keeps audiences guessing until the end. His writing focuses on realism and moral ambiguity.
He shows darker human nature aspects and compromises in tough situations. The dialogue is sharp and cynical, perfectly reflecting post-war Vienna's mood. Greene's novella preceded this screenplay, laying a foundation for cinematic art alongside Carol Reed’s vision. "The Third Man’s" success links to the strong narrative crafted by Greene, highlighting how a well-crafted story is essential in cinema. A notable example of Greene's writing is the "cuckoo clock" speech.
The "Cuckoo Clock" Speech (Authorship and Significance)
The "cuckoo clock" speech happens during Harry Lime's Ferris wheel confrontation with Holly. This iconic scene stands out in cinema history. Lime cynically compares Switzerland’s 500 years of peace to its only invention, the cuckoo clock. This implies neutrality yields no real value.
The speech captures Harry Lime's amoral view, justifying his crimes. It chillingly presents cynicism and moral relativism. Though credited to Graham Greene, authorship of the "cuckoo clock" line is debated. Greene said it was “the best line.” Welles reportedly wrote it. Regardless of its origin, the line suits Lime’s character well, reflecting the film’s themes of corruption and questioning societal values post-war.
This moment conveys dark humor and challenges conventional morality. The "cuckoo clock" speech is crucial for understanding Harry Lime and broader themes.
Cinematography: Use of Shadows and Lighting
Robert Krasker’s cinematography shapes "The Third Man’s" atmosphere. The film looks stunning thanks to black and white photography, shadows, and lighting. The "black and white visuals, especially shadows in post-war Vienna" create a strong sense of unease. Krasker’s chiaroscuro enhances the film noir aesthetic.
Shadows reflect the story's dark nature. Vienna's ruined streets become a labyrinthine landscape, capturing moral ambiguity. Low-key lighting obscures details, contributing to suspenseful mood. Tilted angles and compositions enhance visual complexity and disorientation.
This cinematography serves as crucial storytelling. It visually supports themes and emotional tone. As noted, "The film is unthinkable without Krasker’s sense of space, light, and texture," affirming cinematography's vital role in impact.
Music: Anton Karas's Zither Score
Anton Karas's zither score feels iconic for "The Third Man." It rivals Orson Welles' performance or Vienna's backdrop. The "unforgettable zither score by Karas" is recognizable, fitting the film's mood perfectly. The zither gives it a haunting sound.
The music balances melancholy with upbeat tones, echoing the film’s noir intrigue and romantic longing.
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