The Third Man
Carol Reed
Reed, Greene and the third man, Welles, who almost takes the credit away from them: a lesson, that Hitchcock would envy, about how the villain can steal the limelight in a film. Set between two funerals (for the same man), no one has ever filmed a better more realistic portrait of what a city in the post-war period was like (with Rossellini's permission). Reed's narrative pulse...
Reed, Greene and the third man, Welles, who almost takes the credit away from them: a lesson, that Hitchcock would envy, about how the villain can steal the limelight in a film. Set between two funerals (for the same man), no one has ever filmed a better more realistic portrait of what a city in the post-war period was like (with Rossellini's permission). Reed's narrative pulse is held steady right up to the famous final shot. A monument that should be visited now and then like the ones in cities that we love.
Reed, Greene and the third man, Welles, who almost takes the credit away from them: a lesson, that Hitchcock would envy, about how the villain can steal the limelight in a film. Set between two funerals (for the same man), no one has ever filmed a better more realistic portrait of what a city in the post-war period was like (with Rossellini's permission). Reed's narrative pulse is held steady right up to the famous final shot. A monument that should be visited now and then like the ones in cities that we love.