Plot Details: This opinion reveals major details about the movie's plot.

Wandering through Orson Welles biography a few weeks ago, I found this movie. And although it has a dark, morally ambiguous tone, it has cinematography that achieves genius in black and white filmography, a mystery that captures your attention, although you won't want it to, and some performances of note from Orson Welles, Joseph Cotten and Alida Valli. It occurs in a transitional period in European History, and poses questions that you may find yourself contemplating long after the film is over.


The director, knighted Sir Carol Reed in 1952, was a London based director, and The Third Man weighs in as one of the top one hundred British Films. Reed did some Hollywood flicks, also, including Oliver in 1968, and The Agony and The Ecstasy (1965) based on Irving Stones fiction on the life of Michelangelo. I was surprised to know that one of my old favorites The Trapeze (1956) was also directed by Carol Reed. His movies are known for the questions they pose, and they tend to be reflective of issues that need to be faced, reluctantly perhaps. Yet they do completely get your attention, and qualify as first rate entertainment.

The story was based on a book by Graham Greene, (and Reed would film three of his stories) a thriller of post war reconstruction in Vienna, although the theme has nothing to do with a positive aspect of the first years after Allied victory. In addition the characters as they play out, give two distinct views of Americans, reflected in two different characters, Harry Lime and Holly Martins. The focus is on the mystery, and the story itself, and it would probably be too much of a stretch to postulate sinister intent. The conflict is present in two characters, Holly Martin, and the girl, Anna Schmidt. The Third Man himself, Harry lime, appears to suffer no conscience or conflict.

VIENNA IN 1949

Badly bombed, the city was filled with occupying forces from America, Great Britain, France and Russia. By this time, they had established enclaves, and theoretically, they were there to assist in reconstruction. Interestingly, very little is said about the French.

The story as told from a sophisticated and street-wise British person (the UK version) implies that Black Market activities were casual and practiced by many, leaving the plot in a morass of doom. The American version uses a voice-over provided by Joseph Cotton who plays the "Good American" , leaving a lot less ambiguity . It was more satisfying to most viewers, particularly American viewers.

It reads as a carpetbagger story, where some people were able to profit from the misery of others. The defenders of morality are the British. The Russians were already seen as being another type of potential enemy, prepared to punish anyone (Anna) for trying to escape to freedom. The Americans were seen as either opportunistic and immoral (Harry) or innocent, gullible and dissipated (Holly Martins) I find this at least mildly offensive as one who believes in what we as Americans represent. The rest of the world, we are all finding, does not always see us as the defenders of freedom.

ARTISTIC QUALITIES

The dialog and plot are sophisticated and well constructed, but for me, are not the elements that make this film worth watching. The black and white photography is superb. The images are clear, and pattern definition is effective in enhancing specific scenes. This is especially brilliant in the "sewer" scenes, with water rushing, and people disappearing through tunnels, and an escaping silhouette backlit by the light at the other end. The architecture, including the ruins, makes a symbolic statement that reinforces dramatic elements: cobblestoned streets, wet with rain, people partially hidden by shadow, angled and distorted perspectives are just some of the devices that are effective. The movie won an Academy award for cinematography, and earned it.

The other interesting and unusual element in artistic quality is zither music. This is a little jarring, but fits Vienna quite well. It is used effectively, for transitioning, and introducing change in the plot. It takes some adjusting for the viewer.

DVD The Criterion Collection

This version is loaded with fascinating extras. including an introduction by Bogdanovich, the original opening narration (which places a completely different tone on the flick) a half hour radio episode of The Lives of Harry Lime, performed by Orson Welles as a spin-off in 1950, a clip of the zither-playing performer, and numerous other features not as interesting.
The least helpful to me was the Greene Treatment which reinforces the author's original disdain of Americans generally.In fact, it is a full narration read by an actor, replacing the original sound track, rendering the performances meaningless. I also missed closed captioning.

THE PLOT

The opening credits are flashed with zither strings twanging as background.

“Ten minutes too late…his friends…and coffin”.. (Porter to Holly)

Meet Holly Martins, newly arrived in Vienna shortly the ending of the Second World War, in the early years of joint occupation by the French, English, Russians and Americans. He came to stay with a friend, Harry Lime, who has offered him some kind of job. He goes to Harry’s address, and meets a porter, who speaks little English, but lets Holley know his friend is at that moment being buried, a victim of an accident.

“You ever hear of the LONE RIDER OF SANTA FE?"(Martins to Calloway describing his profession as a writer of Westerns)

Among the mourners, there is a British Chap, a beautiful girl, and a couple of seedy looking Europeans. The Brit turns out to be a high official, named “Calloway” who proceeds to tell Holly some unwanted facts about his good friend.

“He was about the worst racketeer that ever made a dirty living in this city” (Calloway to Martins)

Holly doesn’t believe this about his childhood friend, and partly to satisfy his own curiosity he begins to investigate the death. He has an interest in restoring honor to his friend’s memory. Calloway advises him to return home. A fellow named Crabbin, interested in “cultural re-education” enlists Martin to lecture to his group, giving him an excuse to stay.

A friend of Harry’s “The Baron Kurtz.”, an Austrian, contacts Holly, and the mystery swings into action. He describes the way he Harry was killed, run over by a truck. As Holly starts asking questions, the sense of mystery and intrigue only increases. The Baron also advises Holly to exit stage right. Holly persists.

Holly tracks down Anna Schmidt, a beautiful actress who was involved with his friend Harry. She too has her secrets, with a fake passport (obtained by Harry) and she was unquestionably in love with Harry. She is another reason Holly wants to stay in Austria for a while. She is beautiful, mysterious and loyal to Harry, something she shares with the friend of his childhood, novelist Holly Martins.
Another player is introduced, a Dr Winkel, and the mystery continues. Holly knows by now, that Harry was involved in a black market , but doesn’t know how or what was being procured.

When telling Holly about the accident, the porter describes a third man that was present when friend Harry died. This man has been left out of the story so far. Holly wants him to tell the police, the porter refuses.

“Death is at the bottom of everything Martins. Leave death to the professionals.” (Calloway to Martins)

Meanwhile, the police are searching Anna’s apartment, and they find her fake passport. She is now faced with extradition to Czechoslovakia, and joins the others in suggesting Holley go away. Holley by now is convinced his friend was murdered, and the police are not interested, showing complete disdain for Harry Lime, and his friend. There is clearly something missing, and Holly now has a mission. He is convinced that Harry was murdered.

Another detail pops up, an orderly in a hospital has disappeared, a guy named Harbin. Calloway is looking for him.

When Holly discovers “The Baron” playing violin in a restaurant, things get even more complicated. (This is a funny scene, the only really lighthearted fun in the movie as a large woman continues to chow down, oblivious to the romance of the music.) The next character on the scene is Popescue, the Romanian, who was the guy that got Harry to cross the street in front of the truck that killed him. They deny the presence of a third man.

The porter says, three men, dead before he got carried across the street by his friends. His friends say, no third man, and he gave instructions and money to “take care” lf his friend and girlfriend before he died. Somebody is lying.

The Porter decides to tell Martins the truth, but when Holly goes to meet him, he has been murdered, and Holly is now a suspect in that murder. It becomes increasingly apparent that there’s more than he thinks going on. ( a small child fingers Holly, and a mob, worthy of the villagers in Frankenstein, chase the fleeing Holly down the street).

When he escapes, a suspicious car picks him up in a scary speeding taxi, and takes him …to his forgotten lecture. This is the second funny scene in this movie. Questions about “stream of consciousness” are clearly beyond the ken of our novelist.

“I don’t want another murder in this case, and you were BORN to be murdered.” (Calloway to Martins)

It is at this point that Calloway tells Martins the truth about Harry Lime. Calloway says he was stealing penicillin, watering it down, and selling it back to hospitals. It was ineffective in treating infections, and innocent people died.


Holly, faced with the evidence, finally believes this and decides to go home.
But the mystery is not really solved. Because, although we had unrecognized clues before, we suddenly realize the identity of the third person…Harry Lime himself!

“In Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo Da Vinci and the Renaissance. In Switzerland, they had brotherly love-they had 500 years of democracy and peace, and what did they produce? The cuckoo clock”. (Harry Lime to Martins)

In a monologue written by and for Orson Welles, we hear the truth about Harry Lime, and his unrepentant self-serving greed, for which he makes no excuses.
The meeting between the charming and un-dead Harry Lime and Holly Martins is an instantly memorable scene. We already “know “ Harry, Welles as Harry needed only to show up.

But the story isn’t over yet, and you’ll have to see it for yourself to see what happens. Who was buried that day at Harry’s funeral? Does Holly join Harry in his life of crime? does Anna get deported? You know it can’t be left this way! You simply have to see it. No two ways about it.

THE CAST

Joseph Cotton as Holly Martins. Excellent job by an actor who probably would have been more successful WITHOUT his association with Welles. As a seedy, down on his luck Western Novelist, his innocence and integrity are vindicating for the American side, although his gullibility and lack of sophistication maybe be the dominating element. He is a worthy lead in this movie, and I salute his memory.
Alida Valli as Anna Schmidt. A very interesting and beautiful woman, whose performance here is convincing. She is in most ways the most admirable character in the movie, although her character is blinded by love she has for Harry. Touching and well done.
Orson Welles as Harry Lime. Welles said this role was a star role. He would be a star the minute he appeared in the film. Honestly, he had very little time on camera. But he had the best speech, and he IS Harry Lime. He didn’t care for crawling about in the sewer, and the “hands” scene in the climax are the director’s hands, not those of Welles.
Trevor Howard as Major Calloway. This well loved British actor is a presence in this film, and the audience comes to respect him by the end of the flick, although I confess I didn’t care for the self-righteous official at the start of the movie. This again, is the performance of a seasoned professional.
Paul Horbiger as the Porter. I thought this guy was impressive in communicating without using the English language (which was not ever translated into subtitles) He also adds a comic element much needed in this dark mystery.

Final Recommendation

If you appreciate the genre, and want to see a view of a transitional time in Europe, with hints of the future, this may be just the thing you’re looking for. It is a classic movie, with award winning cinematography. It is not lighthearted fun, and you’ll be left with some questions. It doesn’t hurt to think once in a while.



ps: TO Graham Greene, in case the statement was truly borne of ignorance. Santa Fe is not a location in Texas.








Recommended: Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Not suitable for Children of any age