New review: the Third man 24.06.2017

The concept of “film Noir” originates in Europe. “Noir” is a word that in French refers to a color, namely black. That is film Noir is “black” (dark) film, as a standalone genre, especially in terms of personal style, which has its roots in France. Therefore it is not surprising how harmonious appear the events of the film within the scenery is not the usual style of American big cities, and the ruined cities of post-war Europe.

Vienna — an interesting choice for a painting in a similar stylistic manner. Vienna 1945 year. Destroyed by bombing houses, paved narrow streets next to a dump for construction debris that was left of the buildings and of buildings, a couple of years ago on the site, which is now in the 45th, the antagonist of this movie jumps from side to side across uneven enfilade protruding rebar and rare skeletons of cars, in order to escape from the protagonist, already outline its purpose. In such remarkable scenery occurs where more traditional genre action: detective investigation in blurry black-and-white colors, where the choice is ruled by a sense of duty, love and devotion. While all this endowed the heavy moral crossroads, due to just the triangular distribution of priorities between which writer by profession and reluctant detective Holly Martins (Joseph Cotten) have to break in, hoping to choose the only right way. In addition there is a classical atmosphere with a mild taste unusual, but good humor and common footage is not night and day, which again is atypical for the genre. And that’s these features, however they are not “cut” the eye of the connoisseur “true” film Noir like me, no matter what is the proper explanation: the entourage movie-film Noir is always responsible for himself. Traditionally, it is pessimistic, full of motifs of depression and decline. From here like it was abandoned, first, because of the shooting locations of the post-war city, which by itself does not motivate at least some celebration of life, in contrast to the bright-filled streets of any far more typical of new York. That is the essence of the locations covered here are the essence of musical themes and some of the dialogues humorous direction taken is often not the conditions of the night, and in the soft light of day, in contrast to the frequent cases when the essence of the conversations, the essence of the music and heroes block the celebration of the world around — “Dead on arrival”, “Act of violence”, “Laura” and so on.

Thus, combining the classic genre characteristics, combining them with features of the story, the film is a something fresh within a genre notorious Noir. This is a real consideration bored, so to speak, to the specifics from a new angle, with a slightly different course of events and with a few other types of the surrounding reality.

The film is beautiful in its moral history. Revealing the characters of Joseph Cotto, congenial Orson wells Alida valley, the movie moves at a scenic chain balancing between the sense of disgust towards a particular character identified by the viewer, and a sense of sympathy, affection all to the same character. Such a fine line, which holds the film, is clearly reflected in the moral vicissitudes of the hero Cotto, who at the end of the tape still manages inexplicably to remain true and universal morality, and as flexible and unreliable thing as a friendly solidarity. What is striking is how the hero managed not to betray himself or anyone else beside him. And, moreover, it does not mean that eventually he won’t lose anything and last second of this lovely pattern is similar to the meaning of human existence is fully confirmed, clearly showing what pseudodementia and would-be writer save failed…

“The third man” — a classic of world cinema. The film is in the design borders on the grotesque in everything: his characters, his locations, his story. Everything seems so fantastic and at the same time clearly true that it is not to surrender to his charm in these parts is impossible: it absorbs like in your world, this unusual and familiar at the same time. Yes, some of the images on the basis of this world can cause a viewer’s rejection: each personality to please the authors could not clearly and accurately for someone to “stick tipped”, and for someone like features not even mentioned. In any case, the value of the film is impossible not to recognize. Interesting, and most importantly, unequivocally successful experiment, combining new spots classic rendering of the original features of the style. Uniting them in the frame of a great serial story with unexpected twists and a memorable ending. “The third man” — the film that deserves the attention of Amateur cinematography and today, and will clearly deserve after a long, long time.

PS Thanks for your attention.

New review: the Third man 24.06.2017

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