Review of The Third Man (1949) by Jacob E — 22 May 2013

The Third Man is one of the most beautifully photographed films of all time. This achievement is director Carol Reed's, and his alone. The dominating force behind the film is Harry Lime, a name heard countless times before we are given a face to go along with it, this achievement is belongs to Graham Greene and Orson Welles.

The trust between celluloid and the audience comes from the film's hero, Holly Martins. This achievement belongs to Joseph Cotten. But its the atmosphere that is the most endearing aspect of this classic 1949 treasure of a movie.

This is film presents an engrossing experience from start to finish, and absolutely everything about it is pitch perfect. From Vienna at midnight to Trevor Howard's often dismissed, but completely wonderful performance as Major Calloway (Not Callahan, He's British, Not Irish).

Orson Welles delivers one of the best performances of all time, due partly to the scene atop a Ferris Wheel, and mostly to his absence, and the care taken by writer Graham Greene in creating a perfect character without ever actually seeing him.

Joseph Cotten is superb, hasn't been this good since his lead role in Shadow Of A Doubt or his strong support in Citizen Kane. He makes Holly Martins down to earth, brave, headstrong, and truly American.

Alida Valli is breathtaking, and because of her, Anna Schmidt is a character we take joy in watching, making Anna Schmidt one of the greater love interest in the Film Noir genre. The photography is incredible, the city enormous and isolating, the characters are canon, the story is timeless, and the film is perfect.

The only hands down and flat out perfect film of the 1940s. A true treasure. A real gift.