Director: Carol Reed
Producer: Alexander Korda, David O. Selznick, and Carol Reed
Screenwriter: Graham Greene
Cinematographer: Robert Krasker
Music: Anton Karas
Studio: British Lion Pictures 1949
Main Acting: Joseph Cotten, Alida Valli, and Orson Welles
It always seemed weird to me that whatever film Orson Welles appeared in which didn’t have his name credited as director would inevitably be rumored as being crafted by him. This, of course, was reserved for pictures where some form of merit was tangible and present. There are many rumors floating around that he was actually responsible for helming Norman Foster’s 1943 film noir Journey Into Fear. Forget that Welles himself told Peter Bogdanovich that he had no part in directing the picture, and that Foster was actually a rather competent filmmaker who would also make Kiss The Blood Off My Hands and Woman On The Run. It seemed that whenever Orson became involved in a project, his numerous admirers would try to give him posthumous credit, evidence be damned.
The most annoying example and rather insulting attempt at this is with Carol Reed’s 1949 British masterpiece The Third Man. This speculation throughout the years has never been proven in any way whatsoever. The myth is further weakened when any person knowledgeable about Carol Reed’s career simply watches the two film noirs he made previous to The Third Man. Both Odd Man Out and The Fallen Idol are clearly the work of a master director who didn’t need the help of anyone, including Welles. It would also be an understatement to say that the English filmmaker does not deserve such a baseless rumor circulating about his ability to produce such a towering achievement. His three-picture run in the late 40s is as monumental as that of any director in the history of film. He had some wonderful collaborators like Graham Greene, Robert Krasker, and Anton Karas that surely helped him make such great works of art, but the full credit of directing should never be in doubt.
The Third Man has been talked about so much (especially in recent years as its reputation continues to grow along with film noir) that I’m not sure how I could add anything new or worthwhile to the discussion. The plot of the picture is concerned with American writer Holly Martins (Joseph Cotten) visiting a bombed-out Vienna, looking for old chum Harry Lime (Welles) who has offered him some work. Once arriving at his destination, Martins gets drawn into a complex labyrinth of intrigue as Lime is pronounced dead. As he starts to investigate the mysterious inaccuracies and troubling evidence uncovered, he realizes there may be more to the story than meets the eye. Lime is like a ghost hovering just above the frame, who while absent from most of the picture, is felt in spirit as all the focus is inevitably on him and his whereabouts. The ending creates a powerful downbeat vibe that goes perfectly with the rest of the feature.
When I laid out my plans for this countdown in The Noir Introduction, it was clear that American noirs from the classic period would be emphasized. I did add an interesting caveat about a British picture or two getting in due to certain criteria. The Third Man is not an American film at all, but made in Europe by an English director, English screenwriter/author, and a mostly English-working cinematographer. The eligibility for this countdown can be summed up by the fact that it does have some Hollywood influence on its being made and perhaps some of its success. Both Joseph Cotten and Orson Welles were obviously two of the brightest stars (though underappreciated) in the United States. David O. Selznick also co-produced the picture with Alexander Korda and was instrumental at the time for influencing some changes that were deemed necessary for American audiences. Luckily, it seems his overall meddling has been made redundant by the fact that the 10 minutes he cut from the U.S. release has generally been restored both on cable and Criterion’s DVD release.
So, yes, you could look at The Third Man‘s inclusion as cheating since I’m essentially breaking my own rules on foreign pictures. British movies like Brighton Rock, Odd Man Out, and It Always Rains On Sunday would have also made this list if I were more lax on my needed xenophobia to whittle this countdown to 50. Since I gleefully admit to bending the rules for including The Third Man, I have thus relegated it outside of the top ten. When first devising this list, both The Third Man and Night Of The Hunter were comfortably resting in one of those prestigious positions. Maybe The Third Man is so good that leaving it out of an American noir list is inconceivable. They Shoot Pictures Don’t They did a similar thing with their top 250 film noirs. I guess we can now see why Welles lovers would want to give their man credit for this Reed classic. When a film is this good everyone scurries to claim a piece of the pie.
I can’t fail to mention that dynamic zither score by Anton Karas. So unique, so divine.
What a surprize!!!!!!!!
I have been silently hovering over these NOIR threads for weeks now and have been taking it all in. I have been keeping score, trying to assess MAURIZIO’s tastes, and trying to predict in my mind what films will finish in the top 10 and, low and behold, I am completely bowled over by this choice and the position.
Granted, I am no fan of the NOIR genre but I figured I had just enough knowledge on FILM to make the prediction that this, Carol Reeds ultimate film and one of the truly great noir films of all time would, in a heart beat, position itself squarely in the final ten. If I were to go out on a limb I would have made the guess and predict that this amazing study in black and white, with its unforgettable Zither score, brisk pacing, tremendous performances and one of the 10 greatest character entrances in all of film was gonna fall into place in the number 2 position (I’m predicting OUT OF THE PAST is gonna take the top slot).
That said, I am a huge fan and admirer of this film.
I saw this film over twenty years ago for the first time on a really bad bootleg VHS a friend of mine had procured (he was cheap and never spent money on a prerecorded tape and I think there was a better version out there somewhere, but hey, he was hosting and I’m a penny pincher so no harm no foul) and despite the grainy quality of the picture and the scratchy mono sound, the astounding film this is still shown through.
Scene after glorious scene is a wonder for anyone looking at film trying to understand true visual artistry on the screen. It is a text book example on lighting and form, shadow play and camera set ups (its one of the films regularly shown as an essential learning film in film courses and universities that teach film production and history of the moving image). The glistening black and white, the shadow and light play (particularly in scenes like the tunnel moment Maurizio has illustrated above and that quick, almost teasing flash of head-lites that reveals, dramatically and for the very first time, the elusive and slippery Harry Lime). The script and story is a cracker-jack of double crosses, witty monologues (Harry’s speetch about the cuckoo clocks, one of the ten best in cinema history me thinks) and building suspense and the performances rate and recieve one more unforgettable than the other. Allida Valli is sexy and innocent but with a secret that makes her one of the best dames in all of NOIR for me, Bernard Lee is perfectly physically menacing but hysterically polite and kind at the same time he’s picking you up after he’s punched you as Sgt. Paine, Trevor Howard is unforgettable as Major Calloway a man who wants to help but definately smells a rat, Joseph Cotten is at his innocent and home spun best as the put upon hero Holly Martins and, in a role that would give Charles Foster Kane, Hank Quinlan and Falstaff a run for the money (his Falstaff is still his best) Orson Welles dominates every single scene he’s in as the nefarious but charming killer of kids, Harry Lime.
To me, THE THIRD MAN is the definition of what I see NOIR as. Slinky women, rainswept cobblestone streets, dark secrets, unholy alliances and few that believe your innocence. It’s one of those films that you take in the first time you view it, bath in the brilliance of its plot and characters, then see it again to see a master director create, almost without effort, the effects that become one of the corner stones of the entire genre and film of the period in total.
Carol Reeds masterpiece.
Now, I’m really realy interested to see where Maurizio goes from here with the top ten. Sneaky, sneaky, sneaky….
š
Damn Dennis this comment is longer than some of my pieces. When you love something you sure go whole hog in declaring it. You bring up so many good points here, I will try to get to many of them.
1. I left out The Third Man from the top ten for one main reason. I feel good about it and am satisfied with it at number 11.
2. Out Of The Past for the top spot is a good selection. Let’s see if it comes to fruition. I solidified my top ten order a few weeks ago and will not change it.
3. I agree with everything you say about The Third Man visually. There is a noir addict hidden somewhere inside of you still. Maybe Sammy can get it out with some borrowed movies. Why waste time with screwball comedy fluff lol….. joking joking.
4. One of three Carol Reed masterpieces. Odd Man Out and The Fallen Idol are on the same level.
Great comment. You make every thread come alive!!!
MAURIZIO…
In actuality, SAM and I had an all out screaming and “Fuck You”-ing argument over me not being a fan of NOIR yesterday over the AOL IM. LOL!
The result of the argument (and believe me, it NOT the first bitchy cat scrap he and I have had over the past 20 years and, probably won’t be the last-Lucille says he and I fight like a married couple over the dumbest things-and she’s absolutely correct!) was simple:
I am going to have Sam draw up a list of ten or twenty films from the NOIR catalogue that he has on DVD or Blu-Ray and I will borrow each and report back to him the next day about where I stand on it. If, after each of the twenty films are viewed, I still do not cotton to NOIR or become a fan it is agreed that the taunting and the bashing will cease.
Sam was instructed to give me the best of both the States and Foreign countries that have successfully pulled of NOIR.
As for THE FALLLEN IDOL, I have been, and my wife Sam can attest to this, and always will be a huge admirer and fan of the film and, on certain days, have even went as far to say thay I may like it even more than THE THIRD MAN (in actuality I really love THIRD MAN more).
A litany of insults for Mr Dennis. Isn’t there a saying that says wife knows best? Take the list and heed the big J’s advice.
Dennis, dare I say that all the films you watch should be wrapped up in one long post entry titled “Dennis Watches Noir”, where you offer crits, opinions, new insight, etc. Could be fun.
JAMIE-
You may be on to something there!!!!!!
One of the greatest films in the history of the cinema, and my personal favorite British film of all-time in any genre. Hence this does not in my book finish outside of the top ten (for me it’s a very strong contender for the #1 spot with a few others I know I expect to see here soon) but as I’ve said before we’re getting now to the point of semantics, where numerical placement is all relative, as we’ve upon earlier. Strictly as a ‘British noir’ I’d rate NIGHT AND THE CITY on equal terms here, and might on some days even place the Dassin higher, but I’ve always considered THE THIRD MAN as something even more than noir. I’ve discussed the film so many times from my end that I’ll spare you the hyperbolistic lingo and pompous assertions. Besides, your excellently written essay here really hit the mark exceedingly well. It’s fun time at Wonders in the Dark, with the Top Ten ready to unfold!
Night And The City is really a co-production. That one can be equally claimed by both countries as an almost fusion noir. My essay for tomorrows selection will be celebrating our long arrival to top ten territory Sam. Like the Gilda and Kiss Me Deadly pieces, it will mess with the typical formula for these selections. Thanks for all your passionate comments. Jane Fonda for Klute has to make your greatest female list though lol……..
Again, awesome that this is (surprisingly) outside the top 10! Maurizio has a rebel-rousing streak in him after all! Seriously though, this is a nice essay and I like the closing sentence about ‘claiming a piece of the pie’, just great stuff.
I own the criterion edition which is sublime, but can I say that the last time I watched this the zither score annoyed the heck out of me? it’s so obtrusive in parts and I know that it’s place in film fans hearts is assured so I just wanted to put that out there. After thinking that I’m actually wanted to show this to a few friends who have never seen it/know its reputation to see what a gut reaction is without the baggage (yeah I know can you believe I remain friends with people who are unaware of this?) of it’s esteemed reputation.
For anyone that’s interested, iTunes U has an existentialism course lecture by Cal Berkley professor Hubert L. Dreyfus where he discusses a film in relation to an important existentialist text (Godard’s BREATHLESS gets a Nietzsche ‘Gay Science’ connection, HIROSHIMA MON AMOUR gets compared to ‘Fear and Trembling’ ect) this film gets a ‘Sickness Unto Death’, and partially a ‘Brothers Karamazov’ reading. It’s both accurate and original.
It’s preview is here in lecture 18, with a link to the whole glorious thing. Highly recommended.
http://itunes.apple.com/us/itunes-u/philosophy-7-spring-2008-existentialism/id354819221
Yeah I did throw a slight monkey wrench into where some films were going to land. I’m sure most people expected Double Indemnity, Hunter, and The Third Man to go higher. Still the top ten are true favorites of mine. Leaving out great films on a noir list from the top ten will always happen since I love so much stuff. Tomorrow’s pick may surprise many people. Great link by the way…
First time I saw the film, the zither score annoyed the hell out of me! I thought it seemed way too jaunty and made what should have been a dark moody thriller seem like a light lark. Since then it’s grown on me to the point where it’s one of my favorite aspects of the movie. I think what initially pushed me away – the discrepancy in tone – is actually a strong point. It reinforces the fact that this is not an American noir, it is not about the bitterness of lost innocence and wounded pain (or at least that’s not foregrounded) but has a more worldly, world-weary point of view, one which can savor a bit of lingering romanticism, and even a bemused look down upon all the scurrying rats under the ferris wheel, even if it refutes that perspective from an intellectual standpoint. Aside from being damn catchy, and delightfully perverse, this is a score that refuses to wallow in self-pity.
One could almost call it a “knight of faith” score. š
The zither score all by itself is one of the true glories of the cinema.
Yeah it’s great, perhaps I’ve seen the film a time or two to many. I understand my ‘glories of cinema’ aren’t everyones.
Well I love the zither score but I would put a few other from the noir canon above it. I guess overall I agree with Sam, yet can totally understand Jamie’s position. It’s not a view that upsets me like Dennis’ comment on Mitchum yesterday lol. Sorry for bringing that up again…. pretend I never wrote this!!!
Actually it’s not that I don’t like it, it’s just that it annoyed me (which I almost think may be the point). It made me recall the French horror flick EYES WITHOUT A FACE’s tricky little theme… one that’s iconic, but annoying and sometimes laugh inducing.
Welles sort of appropriated The Third Man when he did the Harry Lime radio program, for which he did some writing as well. It was a slow-motion digestion process with one of the end-products being Mr. Arkadin. But the legends I’ve read about his contributions to Reed’s movie focus on his supposed authorship of the “cuckoo clock” speech. In any event, Lime strikes people as a quintessential Wellsian type, hence the assumptions of authorship. Whatever his role, The Third Man is one of the greatest British films, but it’s also American enough to deserve placement in this survey. It’s a work of British craftsmanship, but it’s about Americans (and Europeans) more than Britons.
Yeah Samuel it does somehow feel less British than something like They Made Me A Fugitive by Calvacanti. Still that part of the world deserves all the credit for making The Third Man. Great comment and thanks for stopping by.
I had heard that Welles WAS resposible for the “Cuckoo Clock” speech as well. However, considering the wit and the creativity of Greene’s writing in books that I have read I wouldn’t be at all surprized if Greene was the author of the speech as well as everything else written in the script of THE THIRD MAN.
Still, whoever the author, the speech is still one of the most riveting monologues in all of film history…
…and Welles delivers it perfectly!!!!
The Third Man wouldn’t just win handsomely if any poll were conducted on Brit Film Noirs, it might even give a lot of films a run for money if a similar poll was conducted for best British films. Irrespective for whether someone likes this film or not, the fact remains that it continues to remain immensely popular to this day.
Two sequences of the film are particularly etched in my mind, and both are of course remembered by anyone who has ever seen this film. The one is where Orson Welles gives that iconic speech that ends with cuckoo clock, and the other is the immortalized sewerage scene (one of the greatest movie climaxes). The scene where Welles emerges out of the shadow, too, was an amazing moment.
And by the way, Maurizio, your eloquent article has convinced me that The Third Man is a Carol Reed film, and not an Orson Welles film (not that I though the other way round) š
Yeah Shubs it is one of those movies that gets considered one of the best ever regardless of genre or classification. Both those scenes you mention are indeed awesome and make me want to pop it on when it gets dark later. 30, 50, 80 years old, I don’t think I will ever tire of it’s charms.
My favorite film to watch right now is this one. Everytime I see it, something just clicks in my brain and I’m so engrossed in it. Brilliant in every way.
It sure is a brilliant film Jon. Thanks for stopping by again.
One of the greatest film mystery ever put on celluloid. Carol Reed’s phenomenal treatment of one of Graham Green weakest stories becomes a true piece of art. Featuring the performance of Joseph Cotton’s career and the most memorable character Orson Welles ever played, Reed reached a level of greatness that he would never reach again; though the Academy didn’t think so giving him the Best Director statue over a decade later for his forgettable Oliver (beating out Stanley Kubrick for 2001 A Space Odyssey). The film doesn’t always get labeled as a film noir, probably due to the fact that its far more comic (highlighted by Anton Karas’ oddly bittersweet score). It still remains a cinematic gem and often cited as the greatest film Britain ever made. The top ten have to be pretty excellent if the three that stand outside are The Third Man, Night of the Hunter, and Sweet Smell of Success. Great Essay!
Oliver over 2001…. dear god. I guess those hacks over at the Oscar committee never get their act straight. Decades go by and its the same story over and over. My top ten is pretty special for me… not sure how you will handle it Anu. I did give specific reasons why those three films placed where they did.
I don’t think you guys need even ask what I think as far as that 1968 debacle concerning the prize for the BEST DIRECTOR Oscar for 1968.
Fuck, 2001 wasn’t even nominated for BEST PICTURE in a year where it was head and shoulders better than any film made in that twelve month period.
That Stanley was beat out by Reed in what amounts to drivel in comparison (although I do love OLIVER! alot as a stand alone film) to one of the singular films that, literally, changed the form of film was a travesty. Kubrick was, basically, snubbed by the Oscar comittee during his lifetime and, likely, was probably due to not being able to recognize genius till much later. That was the curse that Stanley suffered. He was so ahead of himself and the time he was living in that appreciation took long lengths to blossom. Ask anyone now and they all scoff in amazement that his films were regarded as nothing special at the time of their initial releases.
I’m remaining cool now. I just took an aspirin. I’m trying not to write a long, detailed rant…
Deep breaths. Deep breaths.
I see fields.
I see fields.
I did not find the wonderful musical OLIVER! as remotely unforgettable at all, but I can certainly understand the indignation when you think of the 2001 snub.
SAM-
I’m not being indignant to OLIVER! at all. I happen to adore the film and love the music that is the core base of its brilliance.
However, only a fool would try to defend the Academy’s choice of Reed as BEST DIRECTOR in 1968 over Stanley. As good a film as OLIVER is its still just a film that entertains and enchants. 2001 is one of the groundshakers, one of the few films in the history of film that actually changes the medium and sends it to the future for film-makers to come. It’s influence is gargantuan, its themes are some of the most important in human existance and its presentation borders on experience rather than just being a MOVIE.
You all razz me for my asides refrencing the Academy and the awards they give out. However, I am, in actuality, one of the biggest naysayers of those awards as I have often said they very rarely get it right. In 1968, and this is a bold statement but still MY statement,, there wasn’t a film that could even come close to 2001 in creativity, theme, presentation and overall conception. The film is prophetic and it tackles brilliantly some of the biggest questions we have about our place in the universe. In a nut shell, it was the BEST film of 1968 and is probably one of the ten greatest films ever made by an American director. Some might cite others by the reclusive director and I have often said I favor, personally, films like BARRY LYNDON and THE SHINING (but that’s because they work for me as ENTERTAINING MOVIES more than 2001). However, I am no dope and I see beyond the entertainment value when a movie goes past being a film and becomes a life altering experience. Whether looked at altering our perspective on the universe, our being or our acceptance of life after death, or just altering to those that see it going beyond the conventionality of modern film of that time, it should be regarded with awe and as one of the cornerstone films in the language of cinema.
In a nutshell, and I’ll violently defend this position if need be, its one of the ten or twenty greatest movies ever made in the whole of film-making.
Hold OLIVER! up to that…
Well Dennis I have said many times before that in my humble opinion 2001: A Space Odyssey is the greatest film ever made. I know Sam loves musicals but Oliver isn’t a pimple on the butt of that Kubrick classic. Anyone claiming it the better movie (I don’t think Sam is of this view, just that he enjoys Oliver) reminds me of the Vienna court favoring Salieri over Mozart. Some people’s vision doesn’t extend past the length of their short little arms…. how is that for an opinionated brag.
Then again Sam likes Dreamgirls and Driving Miss Crappy more than There Will Be Blood…. oh I’m in a mischievous mood tonight lol!!!!!!!!!!!
anubhavbist – I think we agree this is one of the greatest film mysteries ever put to celluloid – but I take offence to you calling this one of Greene’s weakest stories.
This is by far the greatest screenplay he has ever done (I would argue his screenplay off his own classic short story – The Basement Room – that lead to the film Fallen Idol is one of his weakest at it betrayed the cruel ending/spirit of his original story by stretching out the dĆ©nouement to fit into the running time of a feature film…but that’s a discussion for another time) and when you compare The Third Man to his novels and other stories, I think it ranks with the best of his pulpy entertainments (i.e. A Gun for Sale, The Ministry of Fear, Stamboul Train etc…) and is just as complex in its exploration of morality/politics as his greatest literary achievements (The End of the Affair, The Power and the Glory, The Quiet American).
Greene always straddled that line between entertainment and literature/art…and nowhere is that more complimented in film form than here in The Third Man where his twisted worldview was beautifully brought to screen by his collaborator Carol Reed.
In case you are interested…here’s my takes on Greene in print (a bit outdated as I have now read many of the works I hadn’t read at the point of publishing this post):
and Greene on film:
Again…The Third Man is not one of Greene’s weakest stories. I would argue it is one of his best. And Reed knocked it out of the park with his filming of it.
Great comment David. I would like for you to further elaborate on your views on The Fallen idol, but we can save that for another day. I agree with everything else you say here.
Hi! Maurizio Roca…
Once again, what a very well-written review Of the 1949 film “The Third Man.” I like the fact(s), that you have thrown into the mix about Welles, Reed, Selznick,
(I truly disliked that man, (Selznick…I’am quite sure Hitchcock, wasn’t fond Of him neither…) but that is another story.) and fans of this film who want accept the truth about Welles, not being the director Of this classic film.
I must admit that I wasn’t a big “fan” Of this film at first, but it’s “slowly” and surely, growing on me…
…Oh! yes, I have watched this film twice on TCM and I do own the Criterion Collection DVD which is still unopened…which I’am quite sure that I will open one day. (In order to watch the extras…)
By the way, here goes some more classic (Iconic) images from the film “The Third man” and the sounds of that zither score.
Thanks, for sharing!
DeeDee š
This is a perfect accompaniment to reading the thread. How often do we get a great score to play in the background as we blog?
What a wonderful addition to this thread!!!!
WAY TO GO DEE-DEE!!!!!!!!!!!!!
Yes, Dee Dee is again to be congratulated for these incredible additions. The zither music brings this entire discussion in the right dimension, and it practically calls for an immediate re-viewing! Fantastic!
Awesome, DeeDee – I could listen to that score all day!
You know Dee Dee the first time I watched The Third Man I was slightly disappointed as well. Subsequent viewings have destroyed any reservations for me. It is a near flawless masterpiece now. Thanks for the compliment.
DeeDee, I’m intrigued as to why you don’t like Selznick? I don’t know much about him, but it has been striking me lately that he was the producer of many films I really like from the 1930s and 40s, and I’m wondering how much involvement he had in making these great movies.
@ Hi! Dennis…Thank-you, for the comment and the compliment too!
@Hi! Sam Juliano…Thank-you, too! for the comment and the compliment!
DeeDee š
I want to join in on complimenting you for adding that score Dee. Great job enhancing every thread.
Wow – this would be my number one by a million miles.
It’s also just flat out one of the greatest films ever made and in my top five of all time (sometimes at number one depending on my mood). I could just go on and on about Reed’s directing, about Greene’s writing (Graham Greene is my favorite author of all time, btw), the acting (Welles and Cotten and Valli), the production values, the zither score that is one of a kind….I mean…I just love love love every little bit of this film to death. See what I mean below:
Just wow – 11? Really?
But again I have to give you kudos, Mr. Roco, for keeping us on our toes and surprising us with these rankings. Very suspenseful list! Well done, sir.
David, The Third Man is at 11 more on a technicality than actual merit. Still like I have said many times before, no one movie is above the noir movement. Saying any picture is clearly superior to the rest will never fly with me. The genre is brimming with masterpieces, and no film has a lock on anything. Just to give an example, during this countdown I have put at least five films in the top spot. They are all good enough to land there. I agree that The Third Man is a five star classic, but strongly disagree with it being clearly the best by a million miles. It is one of about three dozen great English/American noirs… this does not even factor the French into the equation….
I think I know what you mean Maurizio. The Third Man is brilliant. Although it does exude film noir tendencies and does fit into that genre, there might be other films that are probably a better “example” of film noir, say like Out of the Past for instance. I kind of feel like that’s what you’re saying here.
Fair enough, sir. I do see there might be a difference in thought when looking at The Third Man strictly through a noir lens vs. just judging it’s merits as a film.
I can put to bed much of the unrest. A little mouse came to my ear and unveiled #9 in this countdown and it’s easily a better film. That’s just one.
In Maurizio we trust.
Haha I think I know who the rat is Jamie!!
D.H.Schleicher said, “Awesome, DeeDee ā I could listen to that score all day!”
Hello! D.H. Sch-lei-cher…
Thank-you, too…for the comment and compliment!
Oh! yes, how well do I know Of your interests in author Graham Greene.
DeeDee š
Maurizio Roca said, “You know Dee Dee the first time I watched The Third Man I was slightly disappointed as well. Subsequent viewings have destroyed any reservations for me. It is a near flawless masterpiece now…”
Maurizio Roca said,”I want to join in on complimenting you for adding that score Dee. Great job enhancing every thread.”
Maurizio Roca,
I’am going to have to watch “The Third man” a couple more time…before I can actually declare the film a “masterpiece”…However, thank you for the comment and very nice compliment too!
DeeDee š
The only suggestion Welles made to Reed is the shot of his fingers poking through the sewer grate. Or so goes the myth.
This is one of my favorite films, noir or otherwise, and I’m very happy to see it among the finalists. I’ve missed out commenting on a number of your recent choices because of the week for spring break, but I’m back just in time for the real fireworks.
Beautiful writing.
Judy said,”DeeDee, Iām intrigued as to why you donāt like Selznick? I donāt know much about him, but it has been striking me lately that he was the producer of many films I really like from the 1930s and 40s, and Iām wondering how much involvement he had in making these great movies.”
Hi! Judy…
Well, it just a personal choice…I haven’t watched too many Of his films that he produced maybe one or two (successful or otherwise…that I know Of…and I probably didn’t know that he produced them!) and the ones he produced with Director [Alfred] Hitchcock.
I’am basing my “dislike” for him after watching this documentary American Masters:Hitchcock and Selznick that I watched last year and this book that a family member purchased for me entitled Hitchcock and Selznick.
On a personal note, I feel because a person make or create successful films don’t mean that you have to like them…For instance,
There are fellow film bloggers, that don’t like or appreciate Director Alfred Hitchcock’s work on film.(Hmmm…and maybe they don’t like him as a person neither, but I don’t care because that is their opinion(s) and I always respect others opinion(s) whether they agree with me or don’t agree with me…)
…If this makes any sense…“deep down in my heart”…I may not disliked him (Selznick)…
…However, I did not like the way he treated Director Alfred Hitchcock and actor Robert Walker.
[Postscript: Maybe it was actress Jennifer Jones fault?!? š Who knows?!?…
As a matter Of fact, I once read that the murderer (Thorwald) that actor Raymond Burr, portrayed in Hitchcock’s “Rear Window” appearance was based on Selznick’s appearance.
Maybe “Hitch” thought he was capable Of murder!…(I would think people car… (Well, almost “murdering” people careers with his constant “meddling!”)]
DeeDee š
Wow, thanks for this great, detailed reply and the links too, DeeDee – much appreciated.
It looks from the sites you have found as if Selznick did have a lot of involvement in making many of the films I like (the films he made with Hitchcock are probably his most romantic, and he was also involved in many of the pre-Codes I’ve been watching by other directors) and I must really read more about him.
I do take your point about him being a turbulent character and about the tragic fate of Robert Walker, but I don’t think any of this would take away from his achievement as a film-maker for me. Thanks again!
I know I’m late to the party on this, and with so many other detailed comments it would be pretty futile to try to give a detailed new opinion.
So let me just say this: If I were making a noir list following your rules, Maurizio, I would put The Third Man at number one.
And as a mark of its greatness: No one who sees this film will ever forget Welles’s sudden appearance in the doorway, or the curious little smile he gives before disappearing again. Just that moment–cinematic bliss.
I can’t argue with your high opinion of The Third Man. It only sits at 11 because I was technically breaking my rules by including it, since it is not an American production. I felt it should sit out of the top ten due to its British origin.