The Third Man (1949)
Carol Reed's ›The Third Man‹ (1949) is the epitome of post-war film noir. It is celebrated for its atmospheric cinematography, haunting score, and exploration of moral ambiguity in the ruins of post-WWII Vienna. The film stars Joseph Cotten as Holly Martins, a naïve American writer who arrives in Vienna and immediately gets caught up in a dark mystery surrounding his old friend Harry Lime (Orson Welles). The film is an icon for a reason. Welles' performance as the enigmatic Lime is nothing short of legendary. The striking use of light and shadow, the famous zither score by Anton Karas, and the intricate weaving of suspense and political intrigue in a war-ravaged city are all part of the reason why.
The film unflinchingly explores the themes of loyalty, betrayal, and the blurred line between heroism and villainy in a morally shattered world. The Third Man is a classic of British cinema and a key text in film noir history. It blends a gripping mystery with profound social commentary.
Holly Martins, an American writer of pulp Western novels, arrives in post-war Vienna at the invitation of his old friend Harry Lime. However, Martins quickly learns upon his arrival that Lime has recently died in a suspicious car accident. Martins is determined to uncover the truth and begins questioning those who knew Lime, including his lover, Anna Schmidt (Alida Valli), and British military police officer Major Calloway (Trevor Howard).
As Martins delves further into the mystery, he uncovers a web of conflicting accounts surrounding the circumstances of Lime's death. Witnesses confirm that a "third man" was present at the scene of the accident, further fueling Martins' suspicions. The mystery thickens as Martins uncovers Lime's involvement in a black market scheme selling diluted penicillin, which has led to the deaths of innocent children.
The film reaches its climax with the explosive revelation that Lime is, in fact, alive and has faked his death to escape justice. In one of the most iconic scenes in cinema history, Lime and Martins confront each other on the Ferris wheel in Vienna's Prater amusement park. Lime coldly reveals his indifference to the suffering caused by his crimes. The film reaches its climax with a nail-biting chase through the sewers of Vienna, where Martins is forced to make a fateful moral decision: let his friend go free or hand him over to the authorities.
The Third Man is unmistakably steeped in moral ambiguity, reflecting the complex political and social environment of post-war Europe. Vienna, divided into four occupied zones controlled by the Allies, is a clear metaphor for the fractured morality of the time. In the ruins of war, right and wrong are meaningless. People resort to crime and corruption for survival. The film's characters reflect this ambiguity. Harry Lime is both charming and monstrous, while Martins is a well-meaning but ultimately flawed hero.
The film forces us to confront difficult moral questions through Lime's character, who justifies his crimes as a necessary part of a broken system. His infamous "cuckoo clock" speech, delivered from the top of the Ferris wheel, unmistakably reveals his cold detachment from the suffering of others. Lime's utilitarian view of life, in which the deaths of many are justified by personal gain, is starkly contrasted with Martins' growing realization that justice and loyalty are not always aligned in a world where everyone is compromised.
The relationship between Martins and Lime is the film's emotional core. Their friendship, built on shared experiences from before the war, is put to the test as Martins discovers the truth about Lime's actions. Martins' journey from loyal friend to reluctant adversary powerfully reflects the film's core themes of betrayal and disillusionment.
The tension between personal loyalty and moral responsibility reaches its boiling point when Martins is forced to face the stark reality of Lime's crimes. He makes the difficult but crucial choice to turn against Lime, prioritizing justice over friendship in a world where the right thing to do is often unclear.
Vienna, with its bombed-out buildings and divided sectors, is the perfect backdrop for the film's exploration of the aftermath of war. The city itself is a character in the film. Its labyrinthine streets and sewers symbolize the hidden corruption and moral decay lurking beneath the surface. The film's setting powerfully captures the bleakness of post-war life, where survival often comes at the cost of integrity.
War has left both physical and moral ruins in its wake, and The Third Man boldly explores the way it distorts human values. The black market for penicillin that Lime exploits is a direct consequence of the scarcity and desperation created by war. The film's noir atmosphere is amplified by the war-ravaged setting, creating a world where trust is rare and deceit is rampant.
The Third Man is renowned for its striking cinematography by Robert Krasker, which is unquestionably one of the film's most defining features. The film's use of canted, or Dutch, angles gives it an unsettling, off-kilter visual style that suggests a morally skewed and unpredictable world. This technique is used frequently to emphasize moments of tension or deception, and it does so effectively, contributing to the pervasive sense of unease that defines the film.
The interplay of light and shadow is a defining feature of the film's visual style. The film uses harsh lighting and deep shadows, drawing from the expressionist tradition, to create a mood of suspicion and dread. The famous chase scene through the sewers of Vienna is the epitome of noir cinematography. The interplay of light and darkness intensifies the tension as Lime attempts to evade capture. These visual elements enhance the film's atmosphere and reflect its deeper thematic concerns with hidden truths and moral ambiguity.
The haunting score, composed by Anton Karas and performed on the zither, is one of the most memorable aspects of The Third Man. The decision to use a single instrument to score the entire film was bold, and Karas' music, particularly "The Harry Lime Theme," became iconic, defining the tone of the film. The score's light, almost playful quality starkly contrasts with the dark themes of the story, adding an undeniably ironic layer to the film's exploration of moral complexity.
The zither's unique sound provides the perfect backdrop for The Third Man, firmly establishing the film in the distinct atmosphere of post-war Vienna. The score also powerfully underscores the tragic irony of Lime's character. While he is charming and engaging on the surface, he is ultimately cold and destructive.
Joseph Cotten is superb as the idealistic and somewhat naïve Holly Martins. His portrayal powerfully captures the essence of a man out of his depth, trying to reconcile his loyalty to an old friend with the harsh realities of Lime's actions. Cotten's performance powerfully conveys the gradual realization that the world is far more morally complex than he ever imagined, and this is one of the film's most compelling emotional throughlines.
Orson Welles is the undeniable star of the latter half of the film, playing Harry Lime with a charismatic intensity that commands the screen. Lime personifies charm and menace. He can justify his monstrous actions with a smile and a clever quip. Welles' magnetic screen presence makes Lime one of cinema's most memorable villains, and his famous Ferris wheel monologue is undoubtedly one of the defining moments of the film.
Alida Valli's portrayal of Anna Schmidt, Lime's lover, infuses the film with a profound sense of tragedy. Her unwavering loyalty to Lime, despite knowing the truth about his crimes, is a key element in the film's central conflict. Valli's performance makes her one of the film's most sympathetic figures, bringing depth to a character caught between love and disillusionment.
The Third Man is the epitome of film noir, seamlessly blending a gripping mystery with profound thematic depth and a stunning visual style. The film's exploration of moral ambiguity, post-war disillusionment, and the conflict between loyalty and justice is as relevant today as it was when it was first released. There's no doubt about it: Carol Reed's direction, combined with unforgettable performances from Joseph Cotten and Orson Welles, makes The Third Man a timeless classic in cinema history.
From the shadowy streets of Vienna to the unforgettable zither score, The Third Man captivates audiences with its noirish atmosphere and exploration of the moral complexities that arise in a broken world. It is unquestionably one of the greatest films of the 20th century. It offers a compelling and dark portrait of a world where nothing is as it seems.
