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The fractured Europe post-World War II is perfectly
captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from
battle. Holly Martins (Joseph Cotton) is an alcoholic pulp writer come to visit his old
friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral
is under way. From Lime's girlfriend and an occupying British officer, Martins learns of
allegations of Lime's involvement in racketeering, which Martins vows to clear from his
friend's reputation. As he is drawn deeper into postwar intrigue, Martins finds layer
under layer of deception, which he desperately tries to sort out. Welles's long-delayed
entrance in the film has become one of the hallmarks of modern cinematography, and it is
just one of dozens of cockeyed camera angles that seem to mirror the off-kilter postwar
society. Cotton and Welles give career-making performances, and the Anton Karas zither
theme will haunt you. --Anne Hurley, Amazon Watch for one of the greatest shots in Movie history near the
end, when Harry Lime's fingers stretch up through a storm drain grating, and the shot is
from street level. Without giving away too much, I'll say that the major theme of
the movie is portrayed so well in that shot that it'll bring tears to your eyes.
They teach this movie in film classes for a reason; no shot is wasted, no line is
tacked on. --Scott Supak, BMP |
