The Third Man

It's time to set the clocks back to 1949 with the oldest film I have reviewed so far, Carol Reed's The Third Man. Taking elements of film noir, The Third Man is set in post-war Vienna where American pulp writer Holly Martins (Joseph Cotton) flies out to visit his friend Harry Lime (Orson Welles) for a job, but is too late following a car accident. Meeting people who in some way were connected to Lime, Martins sets to find out more about his friends untimely death and questions soon arise.

I personally enjoy many of these great films from the golden age of cinema and had always been meaning to check this one out. It comes heavily recommended but I have found that some classics take a little getting used to before I can truly appreciate them on a second viewing. Hitchcock's The 39 Steps and Shadow of a Doubt both come to mind but here I was quickly engaged, thanks to Joeseph Cotton's quick-witted protagonist and Reed's stylish camerawork.

Cotton was a prominent actor in the 1940s and it was great to see him take on a role different to his performances in Citizen Kane and Shadow of a Doubt. The way the screenplay was written, ensured that each character played a key role and Reed, known for cutting scenes from this, wanted each scene to serve a purpose and not to pad things out. Supporting cast members including the acclaimed Alida Valli and Trevor Howard were equally fantastic, but it is Orson Welles who steals the film with his blend of charm and sinisterness, despite having limited screen-time.

Visually, The Third Man is stunning with its black-and-white cinematography of Vienna rebuilding itself after the war. From the odd use of tilted angles to the way the streetlights fall on the damp cobbled and deserted streets, it is amazing what the team behind this were able to achieve.

At just over 90 minutes long, this isn't the same time investment as other films like Gone with the Wind. While some films have aged badly over time, The Third Man certainly isn't one of them and is well worth watching. The use of humour, action and suspense work together perfectly, and the final act alone should be enough to convince sceptics.