Movie Review: The Third Man (1949)

SCORE
-4 out of 5-


CREDITS

• Joseph Cotten: Holly Martins


• Alida Valli: Anna Schmidt (as Valli)


• Orson Welles: Harry Lime


• Trevor Howard: Major Calloway


• Bernard Lee: Sergeant Paine


• Directed by Carol Reed
  
  "Arriving in Vienna, Holly Martins learns that his friend Harry Lime, who has invited him, recently died in a car accident" (source: imdb.com).

STORY

Holly Martins is an out-of-work pulp fiction novelist, which is a unique background for for the star character in a mystery. We've all seen savvy private eyes, policemen, and even lawyers "working cases" before, but an unemployed, naive fiction writer is a first on me, as it probably was for the original audience back in 1949, when the movie premiered. Martins, who is travelling to Europe to visit his lifelong friend, Harry Lime, unlike Sam Spade or Phillip Marlowe, isn't exactly what you would call quick. It would be unfair to call him dumb, but when he arrives in Vienna just in time to attend Harry's funeral, Martins is more than just a little slow in realizing that something is fishy. Witness accounts conflict concerning what happened after Harry was run down in a "hit and run" accident. In particular, Martins can't seem to get a straight answer to the simple question of whether only two men carried Harry's body off the street, or whether there was a third man assisting them.

What Holly Martins lacks in intelligence, however, he more than makes up for with stubborn determination and a sense of curiosity strong enough to kill ten cats. Throughout the international streets of Vienna, Martins pursues the mystery of the "third man," who may be the only one who really knows what happened to Harry Lime.

REVIEW

This movie was recommended to me by a friend. We at ATI don't make recommendations as a matter of policy, but I will say that I found this movie to be entertaining with a rather low cost on the spirit. Given that it premiered in 1949, the movie is shot entirely in black and white, but that medium has always worked well for the mystery genre. My favor B&W mystery is still, and will always be, "The Maltese Falcon," and "The Third Man" follows a lot of the same filming techniques. The camera angles are often shot from the ground looking up at the characters, casting their bodies in interesting, mood-setting shadows. The cinematography creates a sense of intrigue and suspense that the film actually delivers on, with the story resolving itself in what, perhaps, is the only way it could.

Many films since "The Maltese Falcon" and "The Third Man" have tried to mimic the genre, with various degrees of success. Certainly "Chinatown," "LA Confidential, and, to a lesser extent, "Devil in a Blue Dress" carry forward that same mood, dark sense of foreboding, and shadowy cinematography, but the introduction of colour into those pictures seems to have taken more than it gave. I cannot imagine "The Third Man" in anything other than its gritty, eerie black and white, yet modern audiences rarely have the patience for any movie without colour. It's a shame, because that reality has deprived the world of an entire niche of mystery/suspense films.

"The Third Man" really isn't an amazing feat in technology, and I doubt anyone will remember it for its special effects, but it's real treat, like so many older movies, lies in the story. The dialogue, at times, isn't quite believable, perhaps intentionally, but it fits. The story is original in both plot and in the execution. I can't really say more without giving too much away (perhaps a reason why people so rarely recommend mysteries these days - you can't safely explain what makes them entertaining without revealing the twists and endings), except that this movie departs entirely from the usual "whodunit" conventions to deliver something new. Without revealing too much, it is safe to say that the butler didn't do it.

PROS: With an utter lack of nudity and overt sexual content, relatively benign language by today's standards, and very mild violence, this movie probably won't tax your spirit. It's not exactly light-hearted, but the humor is witty and entertaining without creeping into crudeness. The true B&W noir style of cinematography displayed in the film is not in common modern use, giving it a certain anecdotal quality that movie buffs will appreciate. The film's historical setting has a certain educational value. The hero's dogged loyaty to his deceased friend is heart-warming, and the fact that he is not a naturally gifted detective makes his efforts all the more noble, and interesting. Amazing performances by both Joseph Cotten and Orson Welles.

CONS: The movie's setting might not make sense to someone unfamiliar with the relevant period of history or the international significance of Vienna. Also, the theme of murder is alawys a dark one, and the noir film style might actually scare young children. The film is dated in many ways, which hurts it as a period piece in a age of films like Peter Jackson's "King Kong." The period dialogue, which is a bit sub-par against the likes of "The Maltese Falcon," moves at a lightning pace, which may make the film difficult to follow for those under the age of thirteen.

FINAL THOUGHT: The dialogue is slightly less punchy than your typical noir, which I regard as only a minor flaw. If the plot piques your interest, and if black and white noir movies appeal to you, then "The Third Man" is a fine example of the genre that simultaneously delivers unique story elements never seen before or since.

BOTTOM LINE: 4/5