1
00:00:00,400 --> 00:00:15,880
Man, the third Man, hated
by a thousand men, desired by one

2
00:00:16,000 --> 00:00:21,440
woman. The third Man. Hanging
is too good for him. Nothing is

3
00:00:21,480 --> 00:00:27,359
too good for the third Man.
Her man was the third Man, the

4
00:00:27,519 --> 00:00:43,679
man on every woman's lips. Vienna, nineteen fifty. A city fearful of

5
00:00:43,679 --> 00:00:51,119
its present, uncertain of its future. Vionna, the once gay capital of

6
00:00:51,159 --> 00:00:57,560
a lighthearted people, here in the
shadows of its palaces and ruins, is

7
00:00:57,600 --> 00:01:03,920
told with tenderness, drama, and
suspense, the story of the Third Man.

8
00:01:03,280 --> 00:01:07,079
There was a third man there,
and I suppose that doesn't sound peculiar

9
00:01:07,120 --> 00:01:11,480
to me. I'm not interested in
whether a racketeer like lyme was killed by

10
00:01:11,519 --> 00:01:15,079
his friends or by an accident.
The only important thing is that he's dead.

11
00:01:15,400 --> 00:01:19,200
Third Man, the story of two
men and one woman caught in the

12
00:01:19,280 --> 00:01:23,680
dangerous web of an international love affair. Oh, please, for heaven's sake,

13
00:01:23,760 --> 00:01:26,879
stop making him in your image.
Harry was real. He wasn't just

14
00:01:26,959 --> 00:01:32,400
your friend and my lover. No, I don't know. I'm just a

15
00:01:32,439 --> 00:01:42,280
hack writer who drinks too much and
falls in love with girls. You me,

16
00:01:42,640 --> 00:01:47,519
you told me such a fool,
of course, The Third Man Joseph

17
00:01:47,560 --> 00:01:52,200
Cotton, in his most successful performance
as an American caught in a whirlpool of

18
00:01:52,200 --> 00:01:59,359
cotton evel intrigue. The Glamorous Valley
is the mysterious Viennese actress who you the

19
00:01:59,400 --> 00:02:12,919
secret of The Third Man. Bit
Roles are one aspect of cinema we have

20
00:02:13,039 --> 00:02:16,599
yet to speak about on this program, even though they are a major part

21
00:02:16,680 --> 00:02:23,840
of cinema history. They are short
moments when someone is in a film or

22
00:02:24,000 --> 00:02:29,719
seen in a film. They can
be when at the time a novis performer

23
00:02:29,840 --> 00:02:35,319
is getting their first role, or
done as a cameo to generate gravitas towards

24
00:02:35,319 --> 00:02:39,280
a character or pivotal moment in a
particular film. This week's film has,

25
00:02:39,319 --> 00:02:45,759
in my opinion, the greatest bit
role in cinema history, and that is

26
00:02:45,840 --> 00:02:52,120
due to the power and complexity in
the performance from this month's focus or sin

27
00:02:52,199 --> 00:03:00,000
Welles released in Britain in nineteen forty
nine in Stateside in nineteen fifty Directed by

28
00:03:00,120 --> 00:03:05,599
Carol Reid and based off a treatment
from writer Graham Green, The Third Man

29
00:03:05,719 --> 00:03:10,719
tells the tale of down and out
writer Holly Martin's played by screen legend Joseph

30
00:03:10,759 --> 00:03:15,879
Cotton, a man that travels to
post war Vienna to take on a job

31
00:03:16,000 --> 00:03:23,439
from his friend Harry Lyme played by
Wells, whom upon his arrival Martins finds

32
00:03:23,479 --> 00:03:29,599
out has been murdered. However,
while investigating his death, Martin finds that

33
00:03:29,719 --> 00:03:35,120
things are not what they seem.
Our next clip will introduce us to Martin's

34
00:03:35,840 --> 00:03:38,919
Shortly after his arrival, he is
drinking in a local pub when he is

35
00:03:39,000 --> 00:03:45,960
confronted by major Callaway. As the
film is placed in the film noir genre,

36
00:03:46,400 --> 00:03:52,479
this interaction conveys many aspects of this
amazing genre. In one of my

37
00:03:52,560 --> 00:03:58,520
personal favorites, the drunken, down
and out lead in the authority figure thought

38
00:03:58,599 --> 00:04:01,560
to be villainous in the beginning,
but as the film goes on, we

39
00:04:01,639 --> 00:04:10,000
find out they are not. Also
noticed the short and terse dialogue between the

40
00:04:10,080 --> 00:04:15,719
two that is quite present in this
scene. I guess nobody knew Harry like

41
00:04:15,840 --> 00:04:20,920
he did, like I did,
how long ago, back in school.

42
00:04:23,160 --> 00:04:26,600
It's never was so lonesome in my
life till he showed up and you see

43
00:04:26,639 --> 00:04:31,199
him nast September thirty nine, when
the business started. She madn't for there

44
00:04:31,399 --> 00:04:35,160
once in a while, best friend
I ever had. That sounds like a

45
00:04:35,240 --> 00:04:43,759
cheap novel, att Well I write
cheap novel at I'm afraid I never heard

46
00:04:43,800 --> 00:04:47,920
of it. What's your name again? Holly Martin's sorry you ever hear of

47
00:04:47,959 --> 00:04:55,040
the loan writer of Santa Fe Caja
that I have death of double x ranch

48
00:04:55,240 --> 00:05:01,040
of raunch. Nope, must have
known how it's broke. He even sent

49
00:05:01,160 --> 00:05:09,879
me an airplane ticket. He's a
shame. But him dying like that the

50
00:05:09,959 --> 00:05:14,279
best thing that ever happened to him. What are you trying to say?

51
00:05:14,360 --> 00:05:16,720
It was about the worst racketeer that
ever made a dirty living in the city.

52
00:05:16,879 --> 00:05:20,839
Policeman, huh, come on,
have another drink. Oh, I

53
00:05:20,879 --> 00:05:25,040
never did like policemen. I have
to call him sherriff. Haven seen one

54
00:05:25,279 --> 00:05:32,000
pending on a dead man, some
petty racket with gasoline or something, just

55
00:05:32,120 --> 00:05:36,079
like a cop, your real cop. I suppose it wasn't petrol, So

56
00:05:36,279 --> 00:05:43,279
it wasn't petrol, so it was
tires or sacrain. Why don't you catch

57
00:05:43,319 --> 00:05:46,079
a few murderers for a change.
Well, you could say that murder was

58
00:05:46,160 --> 00:05:51,879
part of his racket. It's all
right, pen He's only a scribbler with

59
00:05:51,920 --> 00:06:00,000
too much drink in him. Take
mister Holly Martin's term Holly Marty's the uh,

60
00:06:00,360 --> 00:06:02,879
the writer, the author of the
death at Doubling's Run. That wasn't

61
00:06:02,959 --> 00:06:06,199
Callahan callaway. I'm English, not
Irish. If you're not going to close

62
00:06:06,199 --> 00:06:10,040
your files at a dead man's expense, so you're going to find me the

63
00:06:10,079 --> 00:06:13,959
real criminal. Sounds like one of
your stories. When I'm finished with you,

64
00:06:13,720 --> 00:06:16,199
you'll leave Vianna. You look so
silly. Here's some army money should

65
00:06:16,199 --> 00:06:19,079
see you through tonight that Soccers will
tell if you don't drink too much in

66
00:06:19,120 --> 00:06:28,279
the bar, we'll keep a seat
for you on tomorrow's plane. Please be

67
00:06:28,439 --> 00:06:34,759
kiflesit written anything lately. Take him
to Socers. Don't hit him again if

68
00:06:34,759 --> 00:06:41,079
he behaves. When talking about the
film, the performance by Cotton is one

69
00:06:41,120 --> 00:06:46,240
of his best, and that is
saying a lot. However, Wells is

70
00:06:46,399 --> 00:06:51,560
hairy Lime is the main attraction in
this film. Wells was only on the

71
00:06:51,600 --> 00:07:00,720
screen for ten minutes. However,
in those ten minutes, Wells deliver an

72
00:07:00,759 --> 00:07:08,920
amazing performance. The film in the
writing with this great story builds up the

73
00:07:08,959 --> 00:07:15,399
appearance of this wartime profiteer. But
if not for Wells, it wouldn't matter.

74
00:07:15,720 --> 00:07:20,040
In this film would not have the
legendary status it has today. Our

75
00:07:20,120 --> 00:07:27,120
next clip is one of the most
well known from this film, Lime explains

76
00:07:27,160 --> 00:07:35,040
to Martin's why his selling diluted penicillin
that has led to the death in paralysis

77
00:07:35,079 --> 00:07:42,720
of many, including children, is
acceptable. This scene also shows what made

78
00:07:42,759 --> 00:07:48,920
Well an outstanding performer. His range
and depth is on full display as we

79
00:07:49,000 --> 00:07:59,839
hear his callousness, charm, wit, knowledge, and greed victims the melodramatic

80
00:08:01,680 --> 00:08:05,199
I'll tell, man, would you
really I feel any pity if one of

81
00:08:05,199 --> 00:08:09,879
those dots stop moving forever? If
I offered you twenty thousand pounds for every

82
00:08:11,160 --> 00:08:13,800
dot that stopped, would you really, old man, tell me to keep

83
00:08:13,839 --> 00:08:18,360
my money? Or would you calculate
how many dots you could accord to spare

84
00:08:18,600 --> 00:08:22,639
free of income tax I only free
of income taxes. Oh the way you

85
00:08:22,639 --> 00:08:24,959
can save money out there? What
a good your money'll do you in jail,

86
00:08:26,079 --> 00:08:31,519
got jails in another zone. There's
no proof against me, besides you,

87
00:08:35,039 --> 00:08:39,559
I should be pretty easy to get
rid of, pretty easy. Wouldn't

88
00:08:39,559 --> 00:08:45,919
be too sure I carry a gun. I don't think they'd look for a

89
00:08:45,919 --> 00:08:54,120
bullet, won't after you hit that
ground, dug up your carpet, confound

90
00:08:54,159 --> 00:09:09,879
hobing pity? Holly, what fools
we are talking to each other this way,

91
00:09:09,879 --> 00:09:13,080
as though I do anything to you
or you to me. You're just

92
00:09:13,080 --> 00:09:18,360
a little mixed up about things.
In general. Nobody thinks in terms of

93
00:09:18,879 --> 00:09:22,200
human beings. Governments don't. Why
should we. They talk about the people

94
00:09:22,240 --> 00:09:26,480
and the proletariat. I talk about
the suckers and the mugs. It's the

95
00:09:26,519 --> 00:09:31,480
same thing. They have their five
year plans. So have I used to

96
00:09:31,519 --> 00:09:39,360
believe in God. I still don't
believe in God. I don't believe in

97
00:09:39,440 --> 00:09:45,440
God and mercy and all that.
But dead are happier dead. They don't

98
00:09:45,519 --> 00:09:54,360
miss much here, poor devils.
What do you believe in? Or if

99
00:09:54,399 --> 00:09:56,720
you ever get Anna out of this
mess, be kind to her? Can

100
00:09:56,759 --> 00:10:00,840
find she's worth it. I was
trying to ask she'd bring me some of

101
00:10:00,879 --> 00:10:05,080
these tablets from home, Holly,
I'd like to cut you in home.

102
00:10:05,080 --> 00:10:07,759
Man, nobody left him. Then
I can really trust, and we've always

103
00:10:07,799 --> 00:10:11,320
done everything together. When you make
up your mind, send me a message.

104
00:10:11,320 --> 00:10:13,720
I meet you any place, anytime. And when we do meet,

105
00:10:13,720 --> 00:10:18,320
though, man, it's you I
want to see, not the police.

106
00:10:18,200 --> 00:10:24,519
Remember that, won't you don't be
so gloomy after I got that awful What

107
00:10:24,600 --> 00:10:30,200
the fella said Natalie for thirty years
under the Borges. They had warfare,

108
00:10:30,320 --> 00:10:33,960
terror, murder and bloodshed, but
they produced Michelangelolian out of Da Vinci and

109
00:10:35,000 --> 00:10:39,679
the Renaissance in Switzerland. They had
brotherly loved. They had five hundred years

110
00:10:39,720 --> 00:10:43,000
of democracy and peace. And what
did that produce? The cuckoo clock.

111
00:10:43,360 --> 00:10:48,759
It's a long holly. This film
was very important to the career of wor

112
00:10:48,840 --> 00:10:56,320
Sin Welles, as it introduced him
to the film noir genre. This genre

113
00:10:56,559 --> 00:11:03,440
would allow him to use his love
of lighting techniques in dialogue to drive a

114
00:11:03,480 --> 00:11:09,279
film. You could say that film
noir was set up perfectly for Wells's strengths.

115
00:11:09,840 --> 00:11:15,320
As famed director and Wells's biographer Peter
Bogdanovich explains in our final clip,

116
00:11:16,000 --> 00:11:22,320
Wells would go on to direct two
more harolded noir films, The Stranger and

117
00:11:22,360 --> 00:11:26,159
The Lady from Shanghai, and I'll
take a moment here to argue that his

118
00:11:26,240 --> 00:11:31,759
film The Trial would be classified as
neo noir, a subgenre of film noir.

119
00:11:31,840 --> 00:11:37,399
This clip will also tell us Wells's
love for black and white as a

120
00:11:37,480 --> 00:11:41,919
medium. I think The Third Man
is probably one of the best, if

121
00:11:41,919 --> 00:11:46,919
not the greatest, non o tour
films ever made, where you have this

122
00:11:48,080 --> 00:11:52,480
extraordinary coming together of a bunch of
really first rate talents, all working at

123
00:11:52,480 --> 00:11:56,840
their top. Graham Green as a
writer, Alex Corda as a producer,

124
00:11:58,360 --> 00:12:03,639
Carol Reed as a director, Vienna
looking very photogenic right after the war,

125
00:12:03,159 --> 00:12:09,399
Trevor Howard at his best, Orson
Wells certainly at his most mysterious in a

126
00:12:09,519 --> 00:12:15,200
role that you know he was born
to play, and Joe Cotton really very

127
00:12:15,240 --> 00:12:18,039
American and eloquent, and Alita Valley, you know, at her most ingrid

128
00:12:18,039 --> 00:12:24,960
Bergmanny Carol Reid is one of those
underrated directors who was highly thought of during

129
00:12:24,000 --> 00:12:28,559
his lifetime, but since he's passed
away and nobody much talks about him,

130
00:12:28,600 --> 00:12:31,600
probably because the last few films he
made were not among his best, even

131
00:12:31,600 --> 00:12:35,559
though they were his most successful.
So Oliver, which won Oscars and so

132
00:12:35,639 --> 00:12:41,279
on, isn't exactly a film buffs
Delight, But films like The Third Man

133
00:12:41,360 --> 00:12:46,240
or Odd Man Out, or The
Fallen Idol or even Outcast of the Islands

134
00:12:46,320 --> 00:12:48,720
or even The Stars Looked Down.
All those films thirty years ago were considered

135
00:12:48,759 --> 00:12:54,559
to be classics of the classics of
the English cinema. And you see them

136
00:12:54,600 --> 00:12:58,559
again they hold up awfully well.
One of the wonderful things about the Third

137
00:12:58,559 --> 00:13:05,320
Man also is this extraordinary black and
white photography that you can feel the wetness

138
00:13:05,320 --> 00:13:09,240
in the stones of Vienna. You
know. Orson used to refer to black

139
00:13:09,279 --> 00:13:13,519
and white as the actor's friend,
and I said, why do you say,

140
00:13:13,519 --> 00:13:16,799
They said, well, he says, you know, every performance is

141
00:13:16,840 --> 00:13:22,120
better in black and white. Name
me a great performance in color. I

142
00:13:22,200 --> 00:13:28,759
defy you, And you know,
it is hard to think of great performances

143
00:13:28,759 --> 00:13:31,600
in color. There is something about
black and white. It's the lack of

144
00:13:31,679 --> 00:13:35,720
distraction. You don't sit there saying
aren't those blue eyes beautiful? Or isn't

145
00:13:35,720 --> 00:13:41,120
that hair color nice? It focuses
on the dramatic. I once said to

146
00:13:41,200 --> 00:13:43,200
Orson, welles, my god,
that role of Harry Lyme is you're so

147
00:13:43,279 --> 00:13:46,799
great in that picture? And he
said, well, he said, that's

148
00:13:46,799 --> 00:13:50,399
the part. It's the greatest star
part ever written. Well, you know

149
00:13:50,440 --> 00:13:52,879
what a star part is, he
says, That's what they talk about you

150
00:13:52,360 --> 00:13:54,679
for an hour and then you appear. He says, I did it on

151
00:13:54,679 --> 00:14:00,759
the stage one called mister Woo.
Everybody for the first forty five minutes of

152
00:14:00,799 --> 00:14:03,399
the play says, you know,
but what will happen when mister Wu gets

153
00:14:03,399 --> 00:14:07,159
here? And yes, but what
will mister Wu say about this? And

154
00:14:09,159 --> 00:14:11,440
wait till we find out what mister
Wu thinks and all that, and he

155
00:14:11,440 --> 00:14:15,840
says, and everybody boils around the
stage, as Orson said, for about

156
00:14:16,320 --> 00:14:20,600
almost an hour talking about mister Woo. And then just at the end of

157
00:14:20,600 --> 00:14:24,720
the first act, way in the
distance on the stage, crossing a bridge,

158
00:14:26,159 --> 00:14:31,639
comes the small figure of mister Wu, and everybody goes, ah,

159
00:14:31,159 --> 00:14:35,799
mister Wo. And the curtain comes
down and the audience comes out and says,

160
00:14:35,960 --> 00:14:41,039
isn't that actor playing mister Wu?
Great Orsen said, that's a star

161
00:14:41,200 --> 00:14:46,320
part for you. He always said
that he had no influence over the production,

162
00:14:46,480 --> 00:14:48,360
except that he wrote that speech about
the cuckoo clock, which is the

163
00:14:48,399 --> 00:14:54,440
one speech everybody remembers from the picture. But when I asked him whether he'd

164
00:14:54,480 --> 00:14:58,600
influenced Carol Reid, he said Carol
Reid was a hell of a director and

165
00:14:58,639 --> 00:15:03,440
didn't need my opinion. However,
I think it's important to note that the

166
00:15:03,480 --> 00:15:09,200
look of the third Man, and
in fact the whole film would be unthinkable

167
00:15:11,120 --> 00:15:16,879
without Citizen Kane, the Stranger and
the Lady from Shanghai, which Orson made

168
00:15:16,960 --> 00:15:20,360
in the forties, and all of
Wi, all of which preceded The Third

169
00:15:20,440 --> 00:15:26,000
Man. Carol Reid I think was
definitely influenced by Orson well as the director

170
00:15:26,159 --> 00:15:30,759
from the films he had made.
Whether or not there was any conscious conversation

171
00:15:30,879 --> 00:15:33,360
about shooting s things a certain way
or not, I'm that probably wasn't the

172
00:15:33,440 --> 00:15:37,360
case, cause Carol Reid was awfully
good. He was a you know,

173
00:15:37,480 --> 00:15:41,360
good craftsman and knew what he was
doing. The picture's very daring, very

174
00:15:41,399 --> 00:15:46,360
fast cutting, probably the greatest of
the foreign film noirs. You know.

175
00:15:46,840 --> 00:15:52,480
It's just one of those extraordinarily happy
accidents, which isn't to be patronizing because

176
00:15:52,519 --> 00:15:56,240
Casablancas that can be called that too. Kind of an extraordinarily happy accident,

177
00:15:56,639 --> 00:16:02,360
But when you see The Third Man, it doesn't seem accidental. Everybody,

178
00:16:02,559 --> 00:16:06,200
I think knew what they were doing
and it's a great film. The Third

179
00:16:06,320 --> 00:16:11,879
Man was highly regarded upon release.
It was the highest grossing film in Britain

180
00:16:11,080 --> 00:16:17,039
in nineteen forty nine. It won
the British Academy of Films Best Picture.

181
00:16:17,879 --> 00:16:22,279
It took home the Palm Dior from
Cans in America, It was nominated for

182
00:16:22,440 --> 00:16:30,480
three Academy Awards, including Best Director. It won for Best Cinematography. This

183
00:16:30,600 --> 00:16:37,519
film has become a staple of the
film noir genre and most importantly, is

184
00:16:37,559 --> 00:16:45,360
an example of the beautiful, over
the top performer that Wells was. I

185
00:16:45,399 --> 00:16:48,480
hope you join me next week,
when our month long tribute towards and Wells

186
00:16:48,559 --> 00:16:55,960
concludes with what is often looked at
as his final masterpiece, the nineteen seventy

187
00:16:56,039 --> 00:17:03,000
five film f for Fake for wmna
H and Matt Connerton Unleashed. This has

188
00:17:03,039 --> 00:19:08,839
been a classic film review with Eric
Pilcher, but then the Many, But

189
00:19:11,680 --> 00:20:26,640
at the day many begin believe been
the what