
The Third Man stands as one of the greatest film of all time and considered as the best non-American Film noir.
It’s the story of Holly Martins (Joseph Cotten) an unemployed fiction writer going to Vienna after the Second World War for a job offered by a good friend; Harry Lime (Orson Welles). On his arrival, his friend has just been killed by a car while crossing the street in front of his home. The mysterious death of Lime is slowly revealed to Martins as the story goes by.
The set-up of the film is perfect, in 10 minutes the story brings us in a foreign city split by the winners of the war, the many foreign languages spoken and the many levels of authority. Just like Holly Martins we are destabilized by these elements and the viewer will easily identify himself with him. Joseph Cotten as Martins is as usual excellent and perfectly casted. Opposed to Orson Welles, like in Citizen Kane, he is the guy next door, the potential hero, the guy who falls in love with the beautiful widow.

The story is credited to Graham Greene but Alexander Korda, Carol Reed and Orson Welles all worked on the story. When we look at the quality of the script it is palpable that all these talents have been blend together. There aren’t any useless scenes and every moment is important for the story. The grand finale of The Third Man demonstrates how every facet of filmmaking is perfectly mastered. The story ends at the place it began and like we say in French: la boucle est bouclée.
The Third Man is considered as a masterpiece of the Seventh Art by Mediafilm and I completely

