An out of work pulp fiction novelist, Holly Martins, arrives in a post war Vienna divided into sectors by the victorious allies, and where a shortage of supplies has lead to a flourishing black market. He arrives at the invitation of an ex-school friend, Harry Lime, who has offered him a job, only to discover that Lime has recently died in a peculiar traffic accident. From talking to Lime's friends and associates Martins soon notices that some of the stories are inconsistent, and determines to discover what really happened to Harry Lime. Written by
Mark Thompson <email@example.com>
This film tops the "BFI 100", a list of 100 of "the best British films ever" compiled by the British Film Institute (in 1999/2000). Paradoxically, it is also included (at #57) on the American Film Institute's Top 100 American films" list compiled in 1996. See more »
The policemen who come to arrest Anna change between shots. In dialogue scenes the British policeman is played by Geoffrey Keen. In shots of the Jeep driving to the apartment, and in long shots, a different actor is used. See more »
Don't be so gloomy. After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long Holly.
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Who was Harry Lime (Orson Welles)? An evil man, devil in the flesh who was responsible for the unspeakable crimes, yet brilliant, cheerful and charismatic. His most famous words, a short speech written by Welles himself, say a lot about his character and motivations:
"In Italy for 30 years under the Borgies they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."
No wonder, we like him, even though we know what he'd done
It has been said thousands of times about the greatest movie entrance ever but what about his 'exit' the fingers on the street? I think it is one of the greatest, too
A beautiful mysterious girl with tragic past was in love with him and the unforgettable ending, so antiHollywood, so true to the film - was about her love that goes beyond the grave. I read that both Selznick (the producer) and author Graham Greene had initially argued for something more upbeat (Holly and Anna walking off arm-in-arm), but Reed disagreed. I am so happy that Reed won (I am sure millions of fans are, too). That was the way to finish the movie and make it much more than just typical noir. Makes the viewer think about love, friendship, betrayal, loyalty, the price one pays for them.
Amazing film - perfectly shot; almost flawless. It looks and feels like Welles himself could've made it. The influence of Citizen Kane is undeniable. The only problem I had the music. I like it but it was very strange to hear it in the film like The Third Man. Maybe that was a purpose instead of somber, moody, and ominous music that would be expected for the noir film, something completely different and out of place cheerful but melancholy in the same time
Criterion DVD is wonderful the restored version of the film shines. There are two openings of the film available British and American, and a lot of extras.
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