The Third Man (1949)

I've praised old movies for having larger-than-life casts, and perhaps the largest of them all was Orson Welles - a genius underappreciated in his day and eventually immortalized as "The Brain" on Animaniacs.

I'm being glib. Welles was big - still is, as a matter of fact. Perhaps, then, Harry Lime is one of his best-known roles (after, naturally, Charles Foster Kane) because the character is like the man - seldom seen, always in the shadows, always in control, and of course larger than life. But I had a less than rapturous experience with The Third Man, which is not to say that the film was fantastically disappointing but rather that the experience of watching the film was.

Director Carol Reed handles a Graham Greene screenplay about American western writer Holly Martins (Joseph Cotten) in bombed-out Vienna. Martins has come to find his friend Harry Lime (Orson Welles), who's offered him a job, but when Martins arrives he learns that Lime has been killed in a car accident. After meeting Lime's lover Anna Schmidt (Alida Valli) as well as a few of Lime's deeply suspicious friends, Martins learns that there was an unidentified "third man" present when Lime was killed. Martins follows the trail of evidence to a startling discovery and a knockout chase through the sewers of Vienna.

It's almost impossible to talk about the movie without spoiling the big reveal that initiates the final act of the film, though it's a spoiler that's as common knowledge as the identity of the killer in Psycho - Harry Lime's not dead. The two leads - Cotten and Welles (an inversion of the billing on Citizen Kane) - are dynamite here, with Cotten proving that he's fine as a leading man. Welles does a good job of stepping out of the limelight (no pun intended) and relegating himself to a small but highly memorable supporting role. Of the two, it's easier to favor Welles, who lives up to the film's hyping of his impending appearance; the crucial scene in a ferris wheel is riveting, in which Welles gets to deliver the most famous line of the film - the cuckoo clock speech.

I can also appreciate what Reed did in the making of the film - shoot on location in what was left of Vienna and shoot a compelling chase scene through the sewers. But for every point I can give Reed for his accomplishments, I have to dock him one for the film's shortcomings. The film is riddled with confusing close-ups angled sharply in a disorienting effect; if this had a practical purpose, it'd be one thing, but it seems Reed is tilting the camera just for giggles. More problematic is the film's pacing; while it's enjoyable to see how nearly everyone in the supporting cast looks guiltier than sin, the film drags for a bit while Martins investigates his friend's death. Between the discovery of the existence of a "third man" and the revelation of who that third man is, almost nothing happens; there's some wriggling about Anna's forged passport, but nothing of substance. The film, the audience, and Martins all meander through Vienna trying to figure out where the narrative thread has gone.

But I think my principal problem with the film is the fact that Welles is reduced to a near cameo. The cover of the DVD jacket, and the predominant image in cultural memory, is that of Welles half-turned in a shadowy doorway, poised to enter the film. But the real tragedy is that Welles is criminally underused here, appearing in only two scenes of significance (three if you count his wordless introductory shot). I suppose it'd be like watching an episode of 24 because you heard there was a president on the show; naturally, this character appears, but the star of the visual drama is someone else entirely. For that reason, I feel a little guilty saying I wasn't a big fan of The Third Man, because I watched it with a very heavy anticipation of what the film would be. Consequently, my disappointment is more with my expectations than with the film itself. I'm certain this merits a second viewing, but just give me a little time first.

More my problem than the film's, The Third Man was finely made but just not "to my liking" - at least, not in the moment that I watched it.
The MPAA only "Approved" The Third Man, but today it'd probably land a PG "for thematic elements and smoking."

I'd really like to see this movie remade, certainly without the zither score; put Hans Zimmer or somebody on it to really bring out the suspense of the shadowed Viennese streets. As for cast: Robert Downey, Jr. as Holly Martins, Casino Royale's Eva Green as Anna, and George Clooney as Harry Lime - with the caveat that we not advertise Clooney's presence in the film, to heighten the intrigue in the film as Martins pursues him through Vienna (a la Kevin Spacey's uncredited appearance in Se7en). Christopher Nolan could do a fine job directing.