Analysis of The Third Man

Title: The Third Man
Director: Carol Reed
Date: 1949
Genre: Film-Noir, Mystery, Thriller
Certificate: PG

Brief Synopsis:
Arriving in Vienna, Holly Martins (Joseph Cotten) learns that his friend Harry Lime (Orson Welles), who has invited him, recently died in a 'car accident'. However, he quickly finds out that things aren't as they seem and 'Harry Lime' has a secret past and isn't who he thinks he is...



This is a trailer from the film 'The Third Man'


In the opening of this scene from 'The Third Man' the first thing that you hear and see is a musical instrument called a Zither. It is a cultural reference to the destroyed city Vienna, and the song which is playing is named after the character Harry Lime and introduces us to him. It is used to symbolise that he pulls the strings and is in control of 'Holly Martin’s' emotions. The use of the voice over sets the scene and introduces us to the city of Vienna and the ‘black market’ where they use close ups of hands to show the exchange of money and stolen goods, which emphasises the illegality of the situation.





In this clip Holly Martin walks underneath a ladder which is called dramatic irony because it suggests that something unlucky is going to happen to him. The use of his shadow when walking up the stairs implies that he has a split personality or it could relate to a theme of heaven and hell where Holly is heaven and his shadow represents Harry Lime who is hell.  Holly is always trying to following Harry and the perspective of his character is being turned upside down as Harry plays 'cat and mouse' with him. Also, the use of a high angle shot of Holly looking up to the porter (Paul Horbiger) on the floor above represents his vulnerability.

This screen shot of Harry Lime in the sewers emphasises that he is being compressed by the feeling of doom and there is a visible metaphor of the 'walls closing in on him' leaving him with no escape. The sewers create a labrynth effect, empahsizing the distopian feel which is also being portrayed through the dark, chiaroscuro lighting. The setting enhances the audience's attention by using the low ceiling and narrow brick walls and impiles that he is trying to find a light at the end of the tunnel. The composition of Harry standing in the middle suggests that he is the centre of the whole mystery of his death, and now Holly has found him, the uncertainty that surrounds him has faded entriguing the audience to find out what happens to him next.

This slight tilt shot is the first time Holly Martins sees the person that he has been searching for, and builds up the tention about the mysterious Harry Lime. The way the light has been thrown across his face and everything else remaining in darkness suggests that Holly Martins has finally 'seen the light' and stumbled across what he has been searching desperately for. As the light appears and finally shows the audience the illusive Harry Lime, the soundtrack with the same name starts playing and he smiles at Holly as if nothing has happened and that he hasn't been stalking him. This contrasts his menacing personality displaying that even though he knows he is in the wrong it doesn't stop him from being arrogant and 'toying' with Holly's emotions.