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Author Topic: The Third Man (1949)  (Read 7038 times)
drinkanddestroy
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« Reply #45 on: February 28, 2017, 11:15:58 PM »

Sadly coming from a supposed appreciator of fine art, the cinematography is sublime, fuck off you philistine.  Sad  Wink

Sub-Lyme  Tongue

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Dust Devil
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« Reply #46 on: March 01, 2017, 01:33:55 AM »

To me this movie is like a slightly better version of the excruciating MR. ARKADIN. Just a bunch of endless weird-angle shots of people talking that seem to exist for no purpose other than being weird-angle shots. Yeah, I get it, you can hold the camera  at a weird angle and get an unusual  shot of someone talking. Gets tiresome very quickly.

I do not think these two are in the same sport, or contest. Undecided

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« Reply #47 on: March 01, 2017, 02:34:07 AM »

But in so doing he deprived the orphans in the hospital of the medication they so desperately needed (at least, I think that was the point Trevor Howard was trying to make).

Lime is clearly doing bad things and profiting by it. But he's charming. Apparently, if you're a crypto-fascist like stanton, charm trumps everything (in America, Trump trumps charm, but that's another matter).

Generally, in films with bad guys at the center, we root for them because they're fighting other bad guys who have less going for them. But by making Holly Martins the center (he's there at the beginning, he's there at the end, his quest is what drives the film), we are given a very obvious contrast between good and evil, charming as the latter may be. That visit to the hospital is dispositive. Sympathizing with Lime is like sympathizing with Hitler.

Now that's your second D&D mind control statement. You are in trouble.

Actually I can easily distinguish between the real world and the other world (I maybe later explain which is the real world), and in films I have no problem to give my sympathies to the bad guy, which Harry is, as long as he is more fascinating than our hero.
I repeat me, in GBU I want every time that LvC wins the triello and in OuTW that Fonda shoots this boring Bronson guy. I still hope that the Leone family has the real DCs in their vaults, but as long as that does not happen I'm sure that god (that one in heaven) isn't a good guy either, or at least there is indeed something going wrong in this world (which not necessarily is the real one).

Still 11/10 for The Third Man, and the film is better than the novel.

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drinkanddestroy
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« Reply #48 on: March 01, 2017, 02:44:26 AM »

 There is no simple answer of why in some  movies we root against the bad guy and in some movies we root for the bad guy. Depends on many factors. We generally root for the main character, whether he is good or bad. We are ok rooting for murderers but not rapists or child-beaters, even though in real life a murderer is worse.  Also, it depends how "real" the movie feels. If it feels like a real-life situation, we often do not like the criminal. But if it is movie-fantasy, we do. Doesn't mean we like real-life crooks. These are movie crooks - nothing to do with real life.

I agree that THE THIRD MAN is not as clear as other movies in that regard. Harry Lyme is a terribly evil human being, but we all love watching Orson Welles on the screen and he is not the main character - Joseph Cotten is, and we experience the movie through Cotten. Also, Lyme harmed children - a big No No, even for movie villains.

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« Reply #49 on: March 01, 2017, 05:47:19 AM »

the film is better than the novel.
You mean the treatment. Greene later published it as if it were a novel, but it was originally written as a treatment for the film. There aren't many treatments that are better than the films that come from them.

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« Reply #50 on: March 01, 2017, 06:33:02 AM »

You mean the treatment. Greene later published it as if it were a novel, but it was originally written as a treatment for the film. There aren't many treatments that are better than the films that come from them.

It was not really a treatment, he wrote it as a novel, because he thought it was easier for him to write the screenplay as adaptation. So the novel preceded the film, but was released afterwards. At least some of the best ideas of the film are not in the novel because these were invented in the process of filming.

Whatever, the intent of the novel was indeed only to serve as source for the screenplay.

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« Reply #51 on: March 01, 2017, 07:30:53 AM »


Whatever, the intent of the novel was indeed only to serve as source for the screenplay.
Why then is it worth noting that the film is better than the proto-screenplay? What example can you offer of a treatment/screenplay source that is better than the film produced? You made an empty observation.

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« Reply #52 on: March 01, 2017, 12:43:22 PM »

Why then is it worth noting that the film is better than the proto-screenplay?

Because it could be the other way round?

And it is a novel, it was always a novel, and it will be a novel for all times.

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« Reply #53 on: March 01, 2017, 01:05:29 PM »

Because it could be the other way round?

And it is a novel, it was always a novel, and it will be a novel for all times.
If you'd ever read one of Greene's real novels, you'd never dare make such a statement.

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« Reply #54 on: March 01, 2017, 01:24:26 PM »

If you'd ever read one of Greene's real novels, you'd never dare make such a statement.

I've read some, still I don't know what you mean? (don't bother to explain)

And The 3rd Man is a good novel.

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« Reply #55 on: March 01, 2017, 02:00:49 PM »

I won't bother to explain, but there's no way in hell you're gonna get the last word.

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« Reply #56 on: March 16, 2017, 06:13:30 AM »

I like the atmospheric zither music to 'The Third Man' although this becomes a bit strident at times. It helps to jangle the nerves to intensity in parts of the score.

This film has a great closing scene. It is so bleak with that great long avenue of leafless trees where any chance of a human relationship is given a cold snub.

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