Today’s quick review: The Third Man. In the wake of World War II, American writer Holly Martins (Joseph Cotten) travels to Vienna to take a job working for his friend Harry Lime, but he arrives to find that Lime has been killed in a car accident. Convinced of foul play, Martins enlists the help of Lime’s girlfriend, Anna Schmidt (Alida Valli), to question Lime’s associates, uncover what he was involved in, and figure out why he was killed.
The Third Man is a classic noir mystery set in the fragmented Vienna of the late 1940s. The story follows Holly Martins as he digs into the death of an old friend. His investigation leads him to reluctant witnesses, buried secrets, and a racketeering scheme the police are convinced Lime was responsible for. This engaging mystery is backed by nuanced characters, insightful themes, and canny direction that combine to give the movie remarkable depth.
One of The Third Man’s most intriguing aspects is its characters. The Third Man opts for characters with complex, human flaws that have a direct bearing on the story. Holly is an idealist, a romantic, and something of a drunk, putting him at a disadvantage in the cloak-and-dagger environment of Vienna. Anna Schmidt is too loyal for her own good, clinging to the memory of Harry long past her ability to help him. The supporting cast has similar nuance.
These characters are the basis of a robust, satisfying mystery. The components are simple enough—nagging suspicions, subtle incongruities, and hints at the truth—but the way they’re assembled makes them effective at hooking the viewer’s interest. The small questions soon give way to larger ones as Martins continues his investigation. Moreover, the nature of the mystery changes with Martins’ priorities, making it a hard plot to predict.
The Third Man is tied together by its skillful direction. The movie makes great use of light and shadow, especially when characters skulk around the streets of Vienna. The camera angles are chosen carefully, with a few unusual picks to keep the viewer from getting too complacent. The film’s jaunty soundtrack is an incongruous fit with its moody story, but it helps define the character of the movie and keeps the tone from skewing too bleak.
The overall effect is subtle but powerful. The Third Man never bludgeons the viewer over the head with its mystery, its characters, or its artistry. Instead, it makes countless little decisions that form a masterful whole. How much you get out of The Third Man will depend on how many of its layers you peel back. On the surface, it’s a solid noir with nuanced characters and a decent mystery. Deeper down, it’s a careful puzzle with a lot to unpack.
For a masterful drama with some of the same qualities, try Casablanca. For another classic noir, check out The Maltese Falcon. For a mystery that goes further with its sense of paranoia, check out The Lady Vanishes, North by Northwest, Strangers on a Train, or one of the other Hitchcock movies.
8.2 out of 10 on IMDB. I give it a 7.5 to 8.0 for being a well-rounded movie with hidden depths; your score will depend on how deeply you care to delve into its artistry.