The Third Man Essays

The Third Man Essays-88
In 2011 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the second best British film ever.Opportunistic racketeering thrives in a damaged and impoverished Allied-occupied Vienna, which is divided into four sectors, each controlled by one of the occupying forces: American, British, French, and Soviet.

In 2011 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the second best British film ever.Opportunistic racketeering thrives in a damaged and impoverished Allied-occupied Vienna, which is divided into four sectors, each controlled by one of the occupying forces: American, British, French, and Soviet.

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At a meeting with Lime's friend, "Baron" Kurtz (Ernst Deutsch), Kurtz tells Martins that after the accident he and Popescu (Siegfried Breuer) carried the dying Lime to the side of the street.

Lime asked Kurtz and Popescu to take care of Martins and Anna Schmidt (Alida Valli), Lime's actress girlfriend.

The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and distorted "Dutch angle" camera technique, is a major feature of The Third Man.

Combined with the iconic theme music, seedy locations and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical post-war Vienna at the start of the Cold War.

In a monologue on the insignificance of his victims, he reveals the full extent of his amorality. Calloway asks Martins to help lure Lime out to capture him, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange.

However, Anna refuses to leave and remains loyal to Lime.

Exasperated, Martins decides to leave but changes his mind after Calloway shows Martins the children who are victims of Lime's diluted penicillin, brain-damaged as a result of meningitis.

Lime sneaks out for his rendezvous with Martins, but Anna, still loyal to Lime, arrives and warns him off just in time.

Greene wrote the novella of the same name as preparation for the screenplay.

Anton Karas wrote and performed the score, which featured only the zither.

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