The MoFo Top 100 Film Noir Countdown

The Third Man deals with betrayal and corruption in a city still visibly scarred and divided after the war. There's an almost cyclical nature to the film as well, with similar scenes near the beginning and end that ultimately produce a rather cynical outlook on the future. It's also clever in that viewers who don't know German may feel as lost as Holly does during his conversations with the locals, however audiences who do speak the language hear lines of fear and distrust from a population that is quick to bring up his status as a foreigner and outsider.

While the camera doesn't move very frequently, it's often tilted slightly on its side. These Dutch angles help to generate discomfort and act as a visual representation of Holly's alienation, but they would've been far more effective had they been used sparingly. The cinematography is otherwise brilliant, with fantastic lighting, and impressive shadow work. That iconic chase sequence in the sewers is cleverly shot, but for me, Welles' perfectly framed entrance is the highlight of the film. Welles has fairly minimal screen time, but he always leaves a huge impact.

There is only one thing that holds The Third Man back, and unfortunately its the score. If it were played on any other instrument it might've been fine, but the sounds of the zither were so discordant with what was happening on screen that it was often comical. I wish I could watch this film devoid of its soundtrack, because many scenes were completely drained of tension by music that elicited imagery of calm, tropical beaches. Luckily the film ends on a fantastic note, and I'm glad that Reed fought for that ending, rather than sticking to the one Greene originally envisioned.