////////////DUMB DECOY DUCK
///////////////////MEIN HERR, BALLOON?
/////////////////BALLOON, MEIN HERR?
//////////////////WEIR IST DA?
//////////////////A TOUR IN THE SEWERS OF VIENNA
//////////////////////HARRY MEETS HOLLY
///////////////////////HARRY IS THE THIRD MAN
///////////////////////////DILUTED PENICILLIN, ?IOMEOPATHY
//////////////////////////Opening narrator: I never knew the old Vienna before the war with its Strauss music, its glamour and easy charm. Constantinople suited me better.
////////////////You've never met anyone like him
//////////////////////The various changes that were made as The Third Man evolved from Graham Greene's original treatment to the final result in Carol Reed's film, have already been described in some detail by Adamson (1984), Moss (1987) and Wapshott (1990), and will not be outlined here once again.
Only one major change will be mentioned: at the conclusion of Greene's treatment, Martins catches up with Anna as she leaves the cemetery. They walk together and are finally seen with her hand through his arm, which inspires the narrator (Calloway) to remark, among other things, that Martins had a way with girls.[1] In stark contrast to this happy ending, Reed's film concludes with a remarkable shot lasting over a minute, with Martins leaning against a wagon in the left foreground as Anna approaches from a great distance, getting progressively closer, and - without so much as a glance in his direction - finally walking past him and out of frame. Martins then lights a cigarette and in exasperation, throws the match to the ground, after which the picture fades to black The strains of Karas's zither music are heard throughout the shot.
/////////////////////////The look of the film is raw and relentless- a true visual style almost unheard of in the 1940’s. Reed and his cinematographer, Academy-Award winning Robert Krasker, create a Vienna shrouded in mystery and scandal.
///////////////////////////...........One thing I love about The Third Man, a thing I think makes it classic, is that it mixes genres. It is a mystery, a drama, an action picture and a love story.
////////////////////////MISQUOTE.......“`You know what the fellow said: 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 that produce? The cuckoo clock.'”
///////////////////////
///////////////////MEIN HERR, BALLOON?
/////////////////BALLOON, MEIN HERR?
//////////////////WEIR IST DA?
//////////////////A TOUR IN THE SEWERS OF VIENNA
//////////////////////HARRY MEETS HOLLY
///////////////////////HARRY IS THE THIRD MAN
///////////////////////////DILUTED PENICILLIN, ?IOMEOPATHY
//////////////////////////Opening narrator: I never knew the old Vienna before the war with its Strauss music, its glamour and easy charm. Constantinople suited me better.
////////////////You've never met anyone like him
//////////////////////The various changes that were made as The Third Man evolved from Graham Greene's original treatment to the final result in Carol Reed's film, have already been described in some detail by Adamson (1984), Moss (1987) and Wapshott (1990), and will not be outlined here once again.
Only one major change will be mentioned: at the conclusion of Greene's treatment, Martins catches up with Anna as she leaves the cemetery. They walk together and are finally seen with her hand through his arm, which inspires the narrator (Calloway) to remark, among other things, that Martins had a way with girls.[1] In stark contrast to this happy ending, Reed's film concludes with a remarkable shot lasting over a minute, with Martins leaning against a wagon in the left foreground as Anna approaches from a great distance, getting progressively closer, and - without so much as a glance in his direction - finally walking past him and out of frame. Martins then lights a cigarette and in exasperation, throws the match to the ground, after which the picture fades to black The strains of Karas's zither music are heard throughout the shot.
/////////////////////////The look of the film is raw and relentless- a true visual style almost unheard of in the 1940’s. Reed and his cinematographer, Academy-Award winning Robert Krasker, create a Vienna shrouded in mystery and scandal.
///////////////////////////...........One thing I love about The Third Man, a thing I think makes it classic, is that it mixes genres. It is a mystery, a drama, an action picture and a love story.
////////////////////////MISQUOTE.......“`You know what the fellow said: 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 that produce? The cuckoo clock.'”
///////////////////////
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