The Third Man (1949)

This is one of those movies one can watch over and over and keep discovering new things. It seems a straight-forward, whodunit on first viewing but gets better and better the more times you see it. It is film-noir at it's best and the performances, direction and screenplay are all top notch.

The movie is set in post-World War II Vienna. Joseph Cotton as Holly Martins, an author of pulp western fiction, has just arrived to pursue a job opportunity offered to him long distance by an old friend named Harry Lime. Unfortunately, as soon as he arrives he learns that Lime was killed the week before in a car accident. He is also told by the British military official Maj. Calloway (Trevor Howard) that Lime was involved in criminal activities in Vienna. From Lime's girlfriend and other friends and acquaintances he uncovers some inconsistencies in the story of Harry's life in Vienna and his demise that he resolves to get to the bottom of before leaving town. Specifically the story of his death just doesn't seem to add up as there was apparently a third man involved who was not questioned by police. Martins sets out to find this third man and hopefully clear his friend's name.

Vienna at this time was a town still filled with fear. Different parts of the city were under the control of a different allied victor. People had already begun to avoid remaining in the Russian sector having learned that the Americans and British were much more friendly to their former adversaries. Poverty persists and secrecy is still the order of the day. All of these aspects add to the difficulties faced by Holly Martens and add to his desire to unravel the mystery.

Orson Welles mostly directed himself in movies, but this is the rare exception. Interesting, then that it one of his best performances. Carol Reed's directing career was eclectic to say the least - everything from this drama/thriller to Oliver! to Charlton Heston chewing the scenery as Michaelangelo in The Agony and the Ecstasy. He handled each one extremely well, however, and this is arguably his best effort. He shoots Vienna in such a way that there is a pervasive sense that things are off-kilter. The first glimpse of Welles character and his longest monologue in the film are both classic moments that film historians could spend hours discussing. Despite a brilliant screenplay by Grahame Greene, it was apparently Welles who contributed one of it's best known lines about the good things that can actually result from war. His line is an attempt at justification that fails to persuade either Martins or the authorities and Lime is ironically forced to attempt an escape through the sewers of Vienna. If this doesn't sound that exciting, let me assure you that this is one of those truly great movies that is more than the sum of it's parts.
Don't miss this one!