1 00:00:08,160 --> 00:00:10,200 I never knew the old Vienna before the war, 2 00:00:10,240 --> 00:00:12,960 with its Strauss music, its glamour and easy charm. 3 00:00:13,000 --> 00:00:15,280 Constantinople suited me better. 4 00:00:15,320 --> 00:00:18,880 I really got to know it in the classic period of the black market. 5 00:00:18,920 --> 00:00:22,400 We'd run anything if people wanted it enough and had the money to pay. 6 00:00:22,440 --> 00:00:24,560 I don't know what type of film it is, really. 7 00:00:24,600 --> 00:00:26,640 Is it a film noir? 8 00:00:26,680 --> 00:00:29,000 Is it a thriller? 9 00:00:29,040 --> 00:00:32,000 Is it a drama? Is it a love story? 10 00:00:32,040 --> 00:00:34,360 It's everything, really. 11 00:00:34,400 --> 00:00:36,520 It's just...perfect... 12 00:00:37,680 --> 00:00:39,760 ..for the time it was in. 13 00:00:39,800 --> 00:00:43,560 Vienna doesn't really look any worse than a lot of other European cities. 14 00:00:43,600 --> 00:00:45,800 Bombed about a bit. Oh, I was going to tell you. 15 00:00:45,840 --> 00:00:47,880 Wait, I was going to tell you about Holly Martins, 16 00:00:47,920 --> 00:00:50,200 an American, came all the way here to visit a friend of his. 17 00:00:50,240 --> 00:00:53,520 The name was Lime. Harry Lime. Now Martins was broken. 18 00:00:53,560 --> 00:00:56,200 Lime had offered him some sort, I don't know, some sort of a job. 19 00:00:56,240 --> 00:00:59,680 Anyway, there he was, poor chap. Happy as a lark, and without a cent. 20 00:00:59,720 --> 00:01:01,720 (ZITHER MUSIC PLAYS) 21 00:01:06,120 --> 00:01:10,880 The Third Man, one of the greatest film noir's ever made. 22 00:01:10,920 --> 00:01:15,560 Directed by Carol Reed, starring the inimitable Orson Welles, 23 00:01:15,600 --> 00:01:21,520 and set in a haunting, war-torn Vienna of 1949. 24 00:01:21,560 --> 00:01:25,240 There are few films that can match the atmosphere and mystery. 25 00:01:27,400 --> 00:01:31,200 Produced by Alexander Korda, it is a film of many gifts. 26 00:01:31,240 --> 00:01:35,720 Novelist-turned-screenwriter Graeme Greene's furtive plot, 27 00:01:35,759 --> 00:01:38,920 as strange and twisting as the ruined Vienna streets, 28 00:01:40,240 --> 00:01:45,120 the timeless style of Welles' villain Harry Lime, 29 00:01:45,160 --> 00:01:50,039 and the poignancy of Joseph Cotten's fumbling hero Holly Martins, 30 00:01:50,080 --> 00:01:54,960 the shimmering notes of Anton Karas' zither on the score, 31 00:01:55,000 --> 00:01:59,920 and the expressionist magnificence of Robert Krasker's cinematography 32 00:01:59,960 --> 00:02:04,680 transforming a city into a realm of dancing shadows. 33 00:02:04,720 --> 00:02:06,720 (ZITHER PLAYS) 34 00:02:39,760 --> 00:02:44,800 Vienna is today a city that lies dreaming of its imperial past, 35 00:02:44,840 --> 00:02:47,280 its houses and old churches stand unchanged 36 00:02:47,320 --> 00:02:49,320 by the passage of centuries. 37 00:02:54,840 --> 00:02:56,840 (WALTZ PLAYS) 38 00:03:04,080 --> 00:03:08,360 This is Vienna, once the jewel of an empire, 39 00:03:08,400 --> 00:03:12,760 home to composers, philosophers and artists. 40 00:03:12,800 --> 00:03:15,360 A city for coffee and chocolate cake. 41 00:03:15,400 --> 00:03:17,400 (BELLS RING) 42 00:03:21,920 --> 00:03:25,120 This was the great metropolis that made a Faustian pact with Hitler, 43 00:03:25,160 --> 00:03:27,880 a city left defeated at the end of the war, 44 00:03:27,920 --> 00:03:30,480 and occupied by the four victorious powers - 45 00:03:30,520 --> 00:03:34,440 France, Britain, America and Russia. 46 00:03:34,480 --> 00:03:38,760 It was a place enshrouded in contradiction and conflict. 47 00:03:38,800 --> 00:03:42,040 In 1949, it was bombed about a bit. 48 00:03:42,079 --> 00:03:45,360 Rubble and ruins scarred the classical architecture. 49 00:03:45,400 --> 00:03:47,880 People didn't live. They survived. 50 00:03:49,760 --> 00:03:53,160 It was here that Alexander Korda would decide to set his ambitious 51 00:03:53,200 --> 00:03:56,520 and highly international film project The Third Man. 52 00:03:58,320 --> 00:04:01,320 It was either going to be Vienna or Rome, in fact, 53 00:04:01,360 --> 00:04:03,520 because he really wanted to address 54 00:04:03,560 --> 00:04:07,640 the sort of post-war situation in Europe. 55 00:04:07,680 --> 00:04:10,080 He could see it, first of all, as a thriller, 56 00:04:10,120 --> 00:04:12,800 but it would give him a broader canvas, something that 57 00:04:12,840 --> 00:04:16,560 might look deeper into the effects of the war 58 00:04:16,600 --> 00:04:20,160 on societies, on European society. 59 00:04:20,200 --> 00:04:23,200 Graham Greene came up with a basic idea 60 00:04:23,240 --> 00:04:26,960 that he'd actually written on an envelope 20 years earlier, 61 00:04:27,000 --> 00:04:29,400 which was a simple paragraph about a man 62 00:04:29,440 --> 00:04:31,600 who'd just been to the funeral of his best friend, 63 00:04:31,640 --> 00:04:34,280 is walking along the strand, and he sees him alive, 64 00:04:34,320 --> 00:04:36,960 walking down the street, completely unacknowledged. 65 00:04:38,600 --> 00:04:40,880 The Third Man is one of my favourite films of all time. 66 00:04:40,920 --> 00:04:43,400 Not for the...necessarily for the conventional reasons. 67 00:04:43,440 --> 00:04:46,000 What I love about this film is that it was created 68 00:04:46,040 --> 00:04:48,520 out of convenience, and there were reasons 69 00:04:48,560 --> 00:04:51,000 for doing this film which were not to create a classic. 70 00:04:51,040 --> 00:04:53,560 They were to save money or they were to capitalise 71 00:04:53,600 --> 00:04:58,159 on foreign exchange problems, and all of these little shortcuts 72 00:04:58,200 --> 00:05:00,440 and these little routines that they went through 73 00:05:00,480 --> 00:05:03,440 in order to blag this or to organise that, 74 00:05:03,480 --> 00:05:05,480 and out of this chaos and disorder, 75 00:05:05,520 --> 00:05:08,920 they built one of the greatest films of all time. 76 00:05:12,400 --> 00:05:15,400 Angela Allen worked as a script supervisor on the Third Man, 77 00:05:15,440 --> 00:05:18,120 and got to witness the Vienna of 1949 78 00:05:18,160 --> 00:05:20,440 captured so vividly on the screen. 79 00:05:23,720 --> 00:05:27,200 What would you say was Alexander Korda's motivation 80 00:05:27,240 --> 00:05:29,240 for setting a film in Vienna? 81 00:05:29,280 --> 00:05:33,920 I think to use up the money that was in Vienna 82 00:05:35,800 --> 00:05:39,600 from the previous films he'd made there before the war. 83 00:05:39,640 --> 00:05:43,320 Because of course, before the war, he'd made films in Vienna 84 00:05:43,360 --> 00:05:47,920 and he'd come to England as a Hungarian emigre, hadn't he? 85 00:05:47,960 --> 00:05:51,600 Yes, he had to leave Hungary, and... 86 00:05:51,640 --> 00:05:54,000 ..he'd been through various countries 87 00:05:54,040 --> 00:05:58,280 and I think had made various films in Austria. 88 00:05:58,320 --> 00:06:01,320 Do you think that gave him, as a producer, 89 00:06:01,360 --> 00:06:03,360 a sort of sense of international cinema 90 00:06:03,400 --> 00:06:05,680 rather than just British cinema? 91 00:06:05,720 --> 00:06:07,760 Oh, I think so, very definitely. 92 00:06:07,800 --> 00:06:13,440 And I think he had a tremendous entrepreneurial gift 93 00:06:13,480 --> 00:06:19,040 and he'd learned how to use it over the years. 94 00:06:22,400 --> 00:06:25,240 My fellow film reviewer and film historian Derek Malcolm 95 00:06:25,280 --> 00:06:28,840 knew all three of the key figures behind The Third Man's creation - 96 00:06:28,880 --> 00:06:32,840 Carol Reed, Graham Greene and Alexander Korda. 97 00:06:35,000 --> 00:06:39,400 How would you describe Sir Alexander Korda's style of filmmaking? 98 00:06:39,440 --> 00:06:41,920 Well, he wanted to be big and better, 99 00:06:41,960 --> 00:06:44,240 or at least as good as Hollywood. 100 00:06:44,280 --> 00:06:50,480 And that was he felt...that the British cinema was introspective 101 00:06:50,520 --> 00:06:54,560 and...and wasn't capable of doing anything really big. 102 00:06:54,600 --> 00:06:59,920 And he wanted to be Korda from England AND Hollywood. 103 00:06:59,960 --> 00:07:02,480 And he got his way in a way. 104 00:07:02,520 --> 00:07:04,640 He was an amazing man. 105 00:07:04,680 --> 00:07:08,080 And he didn't interfere with directors too much either. 106 00:07:08,120 --> 00:07:12,520 Once he got them on trust, he kept his trust, you know. 107 00:07:13,640 --> 00:07:16,960 And I thought that was pretty good. 108 00:07:17,000 --> 00:07:19,160 Korda was a remarkable man.Yeah. 109 00:07:19,200 --> 00:07:22,080 There's no doubt about it. And when he died, 110 00:07:22,120 --> 00:07:25,200 a lot left the British film industry, I think. 111 00:07:31,040 --> 00:07:34,480 And what was it like in Vienna in 1948 when you were there? 112 00:07:34,520 --> 00:07:37,280 What was it like? We see the film's version of Vienna, 113 00:07:37,320 --> 00:07:39,800 but what was it like for you being there? 114 00:07:39,840 --> 00:07:43,360 Well, it was a very restricted country for anybody 115 00:07:43,400 --> 00:07:45,680 unless you were in the military. 116 00:07:45,720 --> 00:07:50,240 There was only one hotel we could stay in as a film unit, 117 00:07:50,280 --> 00:07:53,720 but also other people, because everything else 118 00:07:53,760 --> 00:07:58,080 was in a different zone, and you had to be in the military. 119 00:07:58,120 --> 00:08:03,240 The rubble was up to the second floor on the Karntner Strasse, 120 00:08:03,280 --> 00:08:07,760 the main sort of street or whatever you like to call it. 121 00:08:07,800 --> 00:08:11,680 The Opera House had been bombed. It was a bombed-out city. 122 00:08:11,720 --> 00:08:13,960 So what we see on screen is realistic. 123 00:08:14,000 --> 00:08:19,680 Oh, completely. There was no set dressing of the streets of Vienna. 124 00:08:23,440 --> 00:08:25,640 Korda had struck gold with his partnership 125 00:08:25,680 --> 00:08:29,160 of director Carol Reed and the novelist Graham Greene. 126 00:08:29,200 --> 00:08:32,120 Greene had positively reviewed Reed's early film work, 127 00:08:32,159 --> 00:08:35,400 and Korda was able to bring their talents together, 128 00:08:35,440 --> 00:08:38,520 first in London before venturing out to Vienna. 129 00:08:39,640 --> 00:08:41,679 So Graham Greene started out as a film critic 130 00:08:41,720 --> 00:08:43,880 in the 1930s, and became well-known 131 00:08:43,919 --> 00:08:46,920 for some very strongly worded and opinionated pieces 132 00:08:46,960 --> 00:08:49,440 about American film in particular. 133 00:08:49,480 --> 00:08:51,720 By the 1940s, he was also a novelist, 134 00:08:51,760 --> 00:08:55,680 and his novel The Fallen Idol was adapted in part by himself 135 00:08:55,720 --> 00:08:58,840 for the screen, along with producer Alexander Korda 136 00:08:58,880 --> 00:09:00,960 and by director Carol Reed, 137 00:09:01,000 --> 00:09:03,080 which of course, would become the great trio 138 00:09:03,120 --> 00:09:05,880 who would go on to make The Third Man. 139 00:09:05,920 --> 00:09:09,600 What was Graham Greene's involvement in the film industry in the 1940s? 140 00:09:09,640 --> 00:09:11,760 Well, I think he got into it gradually, 141 00:09:11,800 --> 00:09:13,800 like a lot of people, you know. 142 00:09:13,840 --> 00:09:15,840 He had to learn his craft. 143 00:09:15,880 --> 00:09:17,880 It was very different to writing books. 144 00:09:17,920 --> 00:09:21,920 And he... I think he gradually realised 145 00:09:21,960 --> 00:09:26,920 that he wanted to really have his own script for a film, 146 00:09:26,960 --> 00:09:29,080 and eventually he did. 147 00:09:29,120 --> 00:09:31,240 And I don't think he regretted it for a moment, 148 00:09:31,280 --> 00:09:33,720 but I think it was a learning progress, don't you? 149 00:09:33,760 --> 00:09:37,160 Yes. Yes.Like everybody in the film business, 150 00:09:37,200 --> 00:09:40,160 you know, you got in small, gradually developed 151 00:09:40,200 --> 00:09:45,120 and then you got trusted by people just like Carol Reed. 152 00:09:45,160 --> 00:09:47,160 Yes. 153 00:09:49,040 --> 00:09:52,000 All that was left was to cast the lead roles. 154 00:09:52,040 --> 00:09:55,160 Joseph Cotten signed on for the protagonist Holly Martins. 155 00:09:56,400 --> 00:09:59,280 But there would be an anxious wait for the elusive Orson Welles, 156 00:09:59,320 --> 00:10:01,320 who was playing Harry Lime. 157 00:10:03,240 --> 00:10:06,320 Passport, please. What's the purpose of your visit here? 158 00:10:06,360 --> 00:10:08,880 A friend of mine offered me a job here.Where are you staying? 159 00:10:08,920 --> 00:10:10,920 With him. 15 Stiffgasse.His name? 160 00:10:10,960 --> 00:10:13,040 Lime. Harry Lime. 161 00:10:13,080 --> 00:10:15,080 OK.Thought he'd be here to meet me. 162 00:10:15,120 --> 00:10:17,120 (ZITHER MUSIC) 163 00:10:33,960 --> 00:10:36,400 Can you tell me... 164 00:10:36,440 --> 00:10:37,800 who's... 165 00:10:37,840 --> 00:10:39,840 Fella called Lime. 166 00:10:47,840 --> 00:10:50,080 Now, I think before he even got to set, 167 00:10:50,120 --> 00:10:53,080 Orson Welles was already as elusive as Harry Lime, wasn't he? 168 00:10:53,120 --> 00:10:56,880 He was late, and he was either delaying his arrival... 169 00:10:56,920 --> 00:11:00,600 What was it like for you on set, waiting for Orson? 170 00:11:00,640 --> 00:11:03,240 Well, we all knew, 171 00:11:03,280 --> 00:11:05,680 you know, we had a schedule and he was supposed to be 172 00:11:05,720 --> 00:11:09,320 in certain shots, and then they'd phone him. 173 00:11:09,360 --> 00:11:14,160 I think he was in Paris, and then they sent a man to get him in Paris. 174 00:11:14,200 --> 00:11:16,280 So of course he flew to Rome. 175 00:11:16,320 --> 00:11:20,160 Then he flew to Rome, and he's gone back to somewhere else. 176 00:11:20,200 --> 00:11:24,880 And eventually he turned up, and his very first shot in the film 177 00:11:24,920 --> 00:11:27,800 was when he's walking through the Prater 178 00:11:27,840 --> 00:11:30,160 on his way to the wheel scene. 179 00:11:31,520 --> 00:11:35,240 So what did Carol Reed do to, you know, 180 00:11:35,280 --> 00:11:37,680 facilitate having Harry Lime in his film 181 00:11:37,720 --> 00:11:40,000 when there was no Orson Welles there? 182 00:11:40,040 --> 00:11:43,400 Well, at one point...of course, it was night shooting, 183 00:11:43,440 --> 00:11:46,640 and he was supposed to be there. 184 00:11:46,680 --> 00:11:49,920 And he turned to his wonderful assistant 185 00:11:49,960 --> 00:11:53,880 and protege Guy Hamilton and said, 186 00:11:53,920 --> 00:11:56,440 "You're going to have to run and double for him, 187 00:11:56,480 --> 00:12:03,080 but you're too slim, so put a coat hanger in the overcoat and a hat." 188 00:12:03,120 --> 00:12:08,080 And so Guy had to run, was the shadow sort of running up the road. 189 00:12:08,120 --> 00:12:11,840 And... So that when Orson did appear, 190 00:12:11,880 --> 00:12:14,920 he really had no alternative but to wear the hat 191 00:12:14,960 --> 00:12:18,320 and the coat because it had been, you know, established. 192 00:12:21,240 --> 00:12:23,640 I gather Orson Welles had been incredibly elusive 193 00:12:23,680 --> 00:12:26,320 and, you know, across Europe, 194 00:12:26,360 --> 00:12:28,480 and they finally got him to set. Yes. 195 00:12:28,520 --> 00:12:32,960 I mean, when he when he was in Rome, "No, he's just left for Florence." 196 00:12:33,000 --> 00:12:35,720 And then he was in Florence. "No, he's just left for Nice." 197 00:12:35,760 --> 00:12:38,520 They finally caught him up in Nice. 198 00:12:38,560 --> 00:12:41,360 And he said he'd come and do the film. 199 00:12:41,400 --> 00:12:46,920 But he made a big mistake, because he actually took his salary, 200 00:12:46,960 --> 00:12:49,480 which he wanted badly to make Othello. 201 00:12:49,520 --> 00:12:51,680 That was why he did the film. 202 00:12:51,720 --> 00:12:54,360 He wanted to make Othello. He hadn't got enough money. 203 00:12:55,600 --> 00:13:00,080 He made a big mistake, took a salary instead of a piece of the film. 204 00:13:00,120 --> 00:13:03,600 If it has a piece of the film, he could have made Othello twice over. 205 00:13:06,200 --> 00:13:09,040 The key figure in securing Orson Welles for the role 206 00:13:09,080 --> 00:13:13,080 of Harry Lime had been the film's co-producer David O. Selznick. 207 00:13:15,280 --> 00:13:17,440 So David O. Selznick came in on the picture 208 00:13:17,480 --> 00:13:19,560 sort of to meet Korda halfway, 209 00:13:19,600 --> 00:13:23,200 became American-British co-production of sorts. 210 00:13:23,240 --> 00:13:28,920 And Selznick did lend some major sort of firepower to the cast. 211 00:13:28,960 --> 00:13:31,720 He wanted the film to appeal to American audiences, 212 00:13:31,760 --> 00:13:36,120 and he had both Joseph Cotten and Alida Valli under contract. 213 00:13:36,160 --> 00:13:40,360 So he insisted upon those two in the main parts. 214 00:13:40,400 --> 00:13:43,800 He was also able to help wrangle Orson Welles, 215 00:13:43,840 --> 00:13:47,200 who, of course, became iconic in the part of Harry Lime. 216 00:13:47,240 --> 00:13:49,240 So part of that was simply 217 00:13:49,280 --> 00:13:52,640 commercial decision on Selznick's part. 218 00:13:52,680 --> 00:13:56,320 But Selznick also had his difficulties and his downsides. 219 00:13:56,360 --> 00:13:58,480 He was a notorious micro-manager. 220 00:13:58,520 --> 00:14:01,520 He could be really just kind of constantly overbearing, 221 00:14:01,560 --> 00:14:04,640 over the shoulders of filmmakers and creatives. 222 00:14:04,680 --> 00:14:08,960 And perhaps one of the most lucky things about the Third Man 223 00:14:09,000 --> 00:14:11,280 was that Carol Reed and their creative team 224 00:14:11,320 --> 00:14:14,560 were all the way in Vienna, very far from Hollywood. 225 00:14:14,600 --> 00:14:17,760 And so they got over 40 pages of memos from Selznick 226 00:14:17,800 --> 00:14:20,360 that they just sort of binned without even looking at, 227 00:14:20,400 --> 00:14:22,640 because, you know, he wanted to change the name 228 00:14:22,680 --> 00:14:27,480 to A Night In Vienna, and all sorts of kind of unnecessary changes 229 00:14:27,520 --> 00:14:29,880 that were thankfully duly ignored. 230 00:14:34,120 --> 00:14:37,200 What is so ingenious about Greene's script 231 00:14:37,240 --> 00:14:41,440 is that we feel we know Harry Lime before we ever set eyes on him. 232 00:14:41,480 --> 00:14:45,480 Nearly every scene revolves around the shape-shifting villain, 233 00:14:45,520 --> 00:14:48,040 lover, friend, racketeer, 234 00:14:48,080 --> 00:14:51,000 elusive spirit of the Viennese night. 235 00:14:51,040 --> 00:14:53,760 And he's played by Orson Welles, 236 00:14:53,800 --> 00:14:56,720 to say the least, who needed a dramatic entrance. 237 00:14:57,920 --> 00:15:00,120 The arrival of Welles actually changed everything 238 00:15:00,160 --> 00:15:03,720 because when he did appear as Harry Lime, 239 00:15:03,760 --> 00:15:06,720 it was the film's best revelation. 240 00:15:06,760 --> 00:15:10,400 You've been working up to the idea that this was a man 241 00:15:10,440 --> 00:15:15,000 who was a seedy monster, and the first time 242 00:15:15,040 --> 00:15:18,600 in one of the great entrances of any film, 243 00:15:18,640 --> 00:15:21,520 you see Harry Lime caught in the light from a window 244 00:15:21,560 --> 00:15:23,560 in a darkened doorway... 245 00:15:23,600 --> 00:15:25,720 Joseph Cotten has been rushing around Vienna 246 00:15:25,760 --> 00:15:28,000 trying to understand what happened to his friend Harry, 247 00:15:28,040 --> 00:15:31,040 the great sort of nervous energy that he brings to this search. 248 00:15:31,080 --> 00:15:33,640 He's in love with Anna, Harry Lime's girlfriend 249 00:15:33,680 --> 00:15:35,680 who wants nothing to do with him. 250 00:15:35,720 --> 00:15:38,240 There's a particular point in the film where he finally accepts 251 00:15:38,280 --> 00:15:40,280 it's all over, he's going to go back to America. 252 00:15:40,320 --> 00:15:42,320 Everything is resolved. 253 00:15:42,360 --> 00:15:45,800 Now, we've been set up at this point with Anna's apartment having a cat, 254 00:15:45,840 --> 00:15:48,720 and she's told Joseph Cotten 255 00:15:48,760 --> 00:15:52,560 the only person this cat likes is Harry Lime. 256 00:15:52,600 --> 00:15:56,320 Then Cotten walks into the street and he sees a figure in the shadows. 257 00:15:56,360 --> 00:15:59,560 We can't see this figure at all, we can just see his feet, 258 00:15:59,600 --> 00:16:03,240 and we can see the cat is licking the boots of this man. 259 00:16:03,280 --> 00:16:07,280 Now, that's the first clue we get as to who we're going to be seeing. 260 00:16:07,320 --> 00:16:09,320 This is a way to indicate to us 261 00:16:09,360 --> 00:16:11,480 who's about to emerge from the shadows. 262 00:16:11,520 --> 00:16:13,520 (ZITHER MUSIC) 263 00:16:16,480 --> 00:16:18,480 (MIAOWING) 264 00:16:26,960 --> 00:16:29,800 What kind of a spy do you think you are? 265 00:16:32,520 --> 00:16:34,520 What are you tailing me for? 266 00:16:34,560 --> 00:16:36,960 (FOOTSTEPS) 267 00:16:37,000 --> 00:16:39,000 Cat got your tongue? 268 00:16:40,760 --> 00:16:43,480 Come on out. 269 00:16:43,520 --> 00:16:45,520 Come out, come out, whoever you are. 270 00:16:46,720 --> 00:16:49,320 Of course the other legendary scene in The Third Man 271 00:16:49,360 --> 00:16:51,720 is the entrance of Harry Lime, 272 00:16:51,760 --> 00:16:55,160 which I think is probably the greatest entrance in film history. 273 00:16:55,200 --> 00:16:57,520 Oh, I agree with you entirely. 274 00:16:57,560 --> 00:16:59,960 Nobody could have a better entrance. 275 00:17:00,000 --> 00:17:04,280 Well, it was shot in the doorway in Vienna, 276 00:17:05,359 --> 00:17:09,000 and I thought it was incredibly well lit. 277 00:17:10,440 --> 00:17:14,720 Well, you couldn't get a much better cameraman than Robert Krasker. 278 00:17:14,760 --> 00:17:16,839 But there were sort of, like all things in films, 279 00:17:16,880 --> 00:17:19,160 there were sort of bits and pieces done at the studio 280 00:17:19,200 --> 00:17:21,200 and bits done on location. 281 00:17:21,240 --> 00:17:25,400 How did it break down? If we were looking to analyse it, what's where? 282 00:17:25,440 --> 00:17:28,319 Well, the cat, although there was a cat, 283 00:17:28,359 --> 00:17:30,400 you know, in, say, the long shot, 284 00:17:30,440 --> 00:17:34,360 but of course they used the close up for his entrance, 285 00:17:34,400 --> 00:17:40,160 and then to get the cat to look up to Orson Welles, 286 00:17:40,200 --> 00:17:42,200 we did that in the studio. 287 00:17:42,240 --> 00:17:45,800 We had many cats, and we tried them out. 288 00:17:45,840 --> 00:17:49,920 No, maybe he'd like fish paste. No, he doesn't like fish paste. 289 00:17:49,960 --> 00:17:52,520 What can we try him with, and... 290 00:17:52,560 --> 00:17:56,760 Everything, and when our second unit had nothing else to do, 291 00:17:56,800 --> 00:17:59,880 it was, get the cat out, get a cat. 292 00:17:59,920 --> 00:18:03,840 It had to be a matching...you know, colourwise, but... 293 00:18:03,880 --> 00:18:07,240 then the cat, you know, would be tried out as to 294 00:18:07,280 --> 00:18:11,280 whether he would do anything and react the way Carol wanted him to. 295 00:18:11,320 --> 00:18:13,960 So we shot the cat quite a few times. 296 00:18:14,000 --> 00:18:16,320 So the cat was even more difficult than Orson Welles. 297 00:18:16,360 --> 00:18:18,960 Oh, definitely. 298 00:18:19,000 --> 00:18:21,680 Step out in the light. Let's have a look at you. 299 00:18:21,720 --> 00:18:23,720 Who's your boss? 300 00:18:23,760 --> 00:18:25,760 (WOMAN'S VOICE) 301 00:18:25,800 --> 00:18:27,800 (WOMAN SPEAKS ANGRILY IN GERMAN) 302 00:18:38,000 --> 00:18:41,760 Reed served up possibly the greatest entrance in film history. 303 00:18:41,800 --> 00:18:44,480 A mix of studio and location shooting, 304 00:18:44,520 --> 00:18:48,000 it is a sublime moment - Harry, hiding in a doorway, 305 00:18:48,040 --> 00:18:50,320 betrayed by the cat who adores him, 306 00:18:50,360 --> 00:18:54,200 a shard of light from a window falls across his face, 307 00:18:54,240 --> 00:18:57,360 and the revelation of that Mona Lisa smile 308 00:18:57,400 --> 00:18:59,440 as if it's all a game. 309 00:18:59,480 --> 00:19:02,160 Not once do we hear that magnificent voice. 310 00:19:03,760 --> 00:19:05,760 Harry. 311 00:19:07,080 --> 00:19:09,080 (WOMAN CONTINUES TO SPEAK GERMAN) 312 00:19:13,000 --> 00:19:15,760 Joseph Cotten runs towards him, nearly gets run over by a car, 313 00:19:15,800 --> 00:19:18,280 and he's gone, and it's just this... 314 00:19:18,320 --> 00:19:20,720 Orson Welles does almost nothing. 315 00:19:20,760 --> 00:19:24,200 But his smile, his stillness, and the power 316 00:19:24,240 --> 00:19:27,920 that he brings to that shot is phenomenal. 317 00:19:27,960 --> 00:19:30,720 It's one of the greatest entrances in movie history. 318 00:19:30,760 --> 00:19:33,320 I don't know what Carol Reed's sort of 319 00:19:33,360 --> 00:19:35,680 descriptions were of the scenes, 320 00:19:35,720 --> 00:19:39,040 but there's such wonderful sense of enigma in that moment, 321 00:19:39,080 --> 00:19:42,600 because you have Orson Welles, who has the greatest voice in film, 322 00:19:42,640 --> 00:19:46,440 and he doesn't have him say a line, he just has him smile. 323 00:19:46,480 --> 00:19:49,600 Oh, well, yes, and then, 324 00:19:49,640 --> 00:19:51,640 as they all say, less is more. 325 00:19:53,000 --> 00:19:55,280 And it didn't need any words. 326 00:19:55,320 --> 00:19:57,360 It was just that wonderful smile. 327 00:19:57,400 --> 00:19:59,400 And then off he goes. 328 00:20:01,000 --> 00:20:05,160 Joseph Cotten, he has no sense of the devastation. 329 00:20:05,200 --> 00:20:11,640 He has no sense of the kind of reality of life after war. 330 00:20:11,680 --> 00:20:13,960 He is still living in a kind of 331 00:20:14,000 --> 00:20:17,120 Hollywood dream of the perfect world. 332 00:20:17,160 --> 00:20:19,240 He is not disillusioned. 333 00:20:19,280 --> 00:20:22,960 Everyone else around him have had all their illusions shattered. 334 00:20:23,000 --> 00:20:25,280 And it's the journey that he takes 335 00:20:25,320 --> 00:20:28,480 from being this man who is just bewildered... 336 00:20:28,520 --> 00:20:31,160 I mean, he's absolutely bewildered by what's going on, 337 00:20:31,200 --> 00:20:33,440 he's bewildered by the fact that his friend's dead. 338 00:20:33,480 --> 00:20:36,280 Apparently. He's bewildered by the fact that he's not dead then, 339 00:20:36,320 --> 00:20:39,560 apparently, he's bewildered by the fact he doesn't understand anybody 340 00:20:39,600 --> 00:20:41,920 because when they speak in German - 341 00:20:41,960 --> 00:20:44,600 and this was Carol Reed's decision - 342 00:20:44,640 --> 00:20:46,720 there was no subtitles. 343 00:20:46,760 --> 00:20:49,680 So if they speak in German, we the audience, 344 00:20:49,720 --> 00:20:53,280 unless we speak German, are in exactly the same position as Holly. 345 00:20:53,320 --> 00:20:55,320 We don't know what they're talking about. 346 00:20:55,360 --> 00:20:57,760 So this gives you a great sense of alienation. 347 00:20:57,800 --> 00:21:00,840 And he does. He's a stranger in a strange land. 348 00:21:00,880 --> 00:21:04,720 And yet he persists. Yet he falls in love. 349 00:21:04,760 --> 00:21:09,120 Yet he does all the things that his heart tells him to 350 00:21:09,160 --> 00:21:14,760 until finally he is confronted with the very, very horrific reality 351 00:21:14,800 --> 00:21:19,640 of what his friend has done, and that is his loss of innocence. 352 00:21:19,680 --> 00:21:23,760 That's when he actually becomes European. 353 00:21:23,800 --> 00:21:28,080 Hello, old friend! How are you? Hello, Harry. 354 00:21:28,120 --> 00:21:31,560 Well, well, I seem to giving you quite some busy time. 355 00:21:31,600 --> 00:21:34,160 Yes.I want to talk to you.Talk to me? 356 00:21:34,200 --> 00:21:36,200 Of course. Come on. 357 00:21:49,320 --> 00:21:52,640 Kids used to ride this a lot in the old days. They have no money now. 358 00:21:52,680 --> 00:21:55,440 (WOMAN ASKS QUESTION IN GERMAN, HARRY REPLIES) 359 00:21:55,480 --> 00:21:58,360 Listen, Harry, I didn't believe it. 360 00:21:58,400 --> 00:22:00,760 Good to see you, Holly.Was at your funeral. 361 00:22:00,800 --> 00:22:02,800 It was pretty smart, wasn't it? 362 00:22:09,320 --> 00:22:13,160 The great wheel of the Prater had somehow survived the war 363 00:22:13,200 --> 00:22:17,280 and it stood amidst the ruins, a symbol of a city's delusion. 364 00:22:17,320 --> 00:22:21,240 It is the perfect location of a meeting of old friends 365 00:22:21,280 --> 00:22:25,600 and now foes, Holly Martins and Harry Lime. 366 00:22:25,640 --> 00:22:29,200 As the wheel turns, we circle through the charms 367 00:22:29,240 --> 00:22:32,080 and manipulation of Harry's desperation. 368 00:22:32,120 --> 00:22:35,160 Would he really be willing to kill his friend? 369 00:22:35,200 --> 00:22:40,120 It is here that Welles' voice is the amoral philosophy of his character. 370 00:22:40,160 --> 00:22:44,040 Holly is a naive American who is beset 371 00:22:44,080 --> 00:22:47,000 by the horrors of the aftermath of war, 372 00:22:47,040 --> 00:22:51,400 and also the idea that his best friend is a racketeer, 373 00:22:51,440 --> 00:22:54,320 and yet he finds the gumption to actually challenge him, 374 00:22:54,360 --> 00:22:57,440 finally, in the great Ferris wheel. 375 00:22:57,480 --> 00:23:00,400 And that is one of the key scenes, 376 00:23:00,440 --> 00:23:04,480 because you realise that underneath that sort of innocent figure, 377 00:23:04,520 --> 00:23:07,600 there is a good stout heart, that he is prepared 378 00:23:07,640 --> 00:23:10,160 to actually challenge his friend. 379 00:23:10,200 --> 00:23:16,080 And they have the wonderful sort of debate about what human beings are. 380 00:23:16,120 --> 00:23:21,680 And then you see Harry Lime in his true colours when he looks down, 381 00:23:21,720 --> 00:23:24,800 and he offers him a deal, almost like the devil, 382 00:23:24,840 --> 00:23:29,000 saying, "These aren't human beings. These are just people. 383 00:23:29,040 --> 00:23:32,760 If I offered you $20,000 and one of those dots disappeared, 384 00:23:32,800 --> 00:23:34,800 would you take it? 385 00:23:34,840 --> 00:23:38,440 If I offered you $40,000 would you take it?" 386 00:23:38,480 --> 00:23:41,120 This is a very, very tense moment because 387 00:23:41,160 --> 00:23:43,720 it's done not with any kind of huge drama. 388 00:23:43,760 --> 00:23:45,960 It's done with quite quiet dialogue, 389 00:23:46,000 --> 00:23:48,040 and you can tell on the faces of the two men 390 00:23:48,080 --> 00:23:51,200 that they're playing this sort of very, very dangerous game. 391 00:23:51,240 --> 00:23:54,880 Wonderful, wonderful moment, one of the key moments 392 00:23:54,920 --> 00:23:57,280 in not just this film, but any film, actually. 393 00:23:58,680 --> 00:24:01,000 Joseph Cotten is the perfect Holly Martins, 394 00:24:01,040 --> 00:24:03,040 because as an actor in America, he's... 395 00:24:03,080 --> 00:24:05,640 ..he had built a reputation playing those sorts of characters, 396 00:24:05,680 --> 00:24:08,960 those sort of figures of American manhood. 397 00:24:09,000 --> 00:24:13,360 They were usually heroic, but they had a slight hint of darkness. 398 00:24:13,400 --> 00:24:16,760 He'd played with Orson Welles before in Citizen Kane, 399 00:24:16,800 --> 00:24:20,600 the man who'd been slightly enraptured by Citizen Kane, 400 00:24:20,640 --> 00:24:23,800 but then sort of had the scales fall from his eyes. 401 00:24:23,840 --> 00:24:28,080 And so he brings to the role of the author of Pulp westerns 402 00:24:28,120 --> 00:24:30,840 a certain Western sensibility, in a way. 403 00:24:30,880 --> 00:24:33,400 As an actor, he's got a slight, slight element 404 00:24:33,440 --> 00:24:36,760 of the cowboy to him, and so he's out of his depth completely. 405 00:24:36,800 --> 00:24:40,080 And... Again, this is an actor who is 406 00:24:40,120 --> 00:24:44,000 as much the part himself as you could wish. 407 00:24:44,040 --> 00:24:46,320 You know, he brings all of those qualities - 408 00:24:46,360 --> 00:24:50,280 the naive American, the man who's used to playing the good guy, 409 00:24:50,320 --> 00:24:52,320 who expects everything to fall into place, 410 00:24:52,360 --> 00:24:54,360 and who's suddenly finding that the answers 411 00:24:54,400 --> 00:24:56,760 aren't coming, the results aren't coming. 412 00:24:56,800 --> 00:24:58,840 There's a great trope in Westerns, 413 00:24:58,880 --> 00:25:02,360 which is when your buddy betrays you, what do you do? 414 00:25:02,400 --> 00:25:04,920 And in the final shootout, you'll always shoot him dead. 415 00:25:04,960 --> 00:25:09,480 But the point about The Third Man is what will Holly do? 416 00:25:09,520 --> 00:25:13,760 And in the end, he can't quite shoot his buddy dead as a Western can. 417 00:25:13,800 --> 00:25:15,880 And we see him falling apart. 418 00:25:15,920 --> 00:25:19,480 We see him losing his grip on the true stories 419 00:25:19,520 --> 00:25:21,680 that he's expected to tell, that he's written, 420 00:25:21,720 --> 00:25:23,720 and that he's performed as an actor. 421 00:25:23,760 --> 00:25:26,440 Holly, I'd like to cut you in, old man. 422 00:25:26,480 --> 00:25:28,480 There's nobody left in Vienna I can really trust 423 00:25:28,520 --> 00:25:30,520 and we've always done everything together. 424 00:25:30,560 --> 00:25:32,560 When you make up your mind, send me a message. 425 00:25:32,600 --> 00:25:34,680 I'll meet you any place, any time. 426 00:25:34,720 --> 00:25:38,560 And when we do meet, old man, it's you I want to see, not the police. 427 00:25:40,080 --> 00:25:42,520 So another...I suppose story that, you know, 428 00:25:42,560 --> 00:25:44,560 comes from the making of The Third Man 429 00:25:44,600 --> 00:25:48,840 is how much Orson Welles did or didn't contribute to the script. 430 00:25:48,880 --> 00:25:52,720 In particular, the scene on the Great Wheel in the Prater. 431 00:25:52,760 --> 00:25:58,320 He gave Carol quite a hard time on that scene, which, of course, 432 00:25:58,360 --> 00:26:01,760 was his biggest scene in the film. 433 00:26:01,800 --> 00:26:05,560 But no, he did not write the script for it. 434 00:26:05,600 --> 00:26:07,760 It was the Graham Greene script, 435 00:26:07,800 --> 00:26:12,680 and I think one has decided to give him the credit 436 00:26:12,720 --> 00:26:14,720 for the cuckoo clock line. 437 00:26:16,520 --> 00:26:20,320 Don't be so gloomy. After all, it's not that awful. 438 00:26:20,360 --> 00:26:24,280 Remember what the fella said - in Italy for 30 years under the Borgias 439 00:26:24,320 --> 00:26:26,560 they had warfare, terror, murder and bloodshed, 440 00:26:26,600 --> 00:26:28,600 but they produced Michelangelo, 441 00:26:28,640 --> 00:26:30,640 Leonardo da Vinci and the Renaissance. 442 00:26:30,680 --> 00:26:33,040 In Switzerland they had brotherly love, 443 00:26:33,080 --> 00:26:35,440 they had 500 years of democracy and peace. 444 00:26:35,480 --> 00:26:37,520 And what did that produce? 445 00:26:37,560 --> 00:26:39,560 The cuckoo clock. So long, Holly. 446 00:26:39,600 --> 00:26:41,600 (ZITHER PLAYS) 447 00:26:46,840 --> 00:26:51,160 The rumours that he messed with the script are not true, 448 00:26:51,200 --> 00:26:55,280 except for his famous speech about the Swiss 449 00:26:55,320 --> 00:26:58,440 and making only the cuckoo clock. 450 00:26:58,480 --> 00:27:02,120 The Swiss objected because actually they never made a cuckoo clock 451 00:27:02,160 --> 00:27:04,160 in their lives in Switzerland. 452 00:27:04,200 --> 00:27:06,720 It's all done in Bavaria, apparently. 453 00:27:06,760 --> 00:27:09,640 But anyway, that was a wonderful speech. 454 00:27:09,680 --> 00:27:13,400 Yes.Everybody remembers. And that was Orson Welles. 455 00:27:13,440 --> 00:27:16,720 There's no doubt about that. As Carol Reed has said. 456 00:27:16,760 --> 00:27:19,800 But otherwise, he didn't deflect from the script at all, 457 00:27:19,840 --> 00:27:24,720 and nor did he interfere with the direction at all. 458 00:27:24,760 --> 00:27:28,000 He trusted Reed, and Reed trusted him in the end. 459 00:27:28,040 --> 00:27:29,280 Yeah. 460 00:27:29,320 --> 00:27:31,320 In the last war, a general would hang 461 00:27:31,360 --> 00:27:33,360 his opponent's picture on the wall. 462 00:27:34,640 --> 00:27:38,000 He got to know him that way. I'm beginning to know Lime. 463 00:27:39,600 --> 00:27:42,760 I think this would have worked with your help. 464 00:27:49,800 --> 00:27:51,800 What price would you pay? 465 00:27:57,520 --> 00:27:59,520 Name it. 466 00:27:59,560 --> 00:28:06,560 And of course the other cast was Trevor Howard. And he's always good. 467 00:28:06,600 --> 00:28:11,240 He keeps on recurring in Carol Reed's films. 468 00:28:11,280 --> 00:28:15,600 Always good. He was excellent in this, as was Bernard Lee. 469 00:28:15,640 --> 00:28:18,880 They were the British officer and the sergeant 470 00:28:18,920 --> 00:28:21,640 who tried to persuade Holly to go away 471 00:28:21,680 --> 00:28:25,480 because there was something evil happening. 472 00:28:25,520 --> 00:28:28,640 They are almost kind of the moral voice in the film, aren't they? 473 00:28:28,680 --> 00:28:32,600 Yes, they are - they're the moral voice of the film. 474 00:28:32,640 --> 00:28:35,600 I don't think it's a morality tale. 475 00:28:35,640 --> 00:28:38,040 Well, perhaps it is. Do you think it is? 476 00:28:38,080 --> 00:28:40,080 I think it's an exploration of morality. 477 00:28:40,120 --> 00:28:42,640 Maybe the lack of morality in the post-war Europe.Yes. 478 00:28:42,680 --> 00:28:49,480 Because Europe in those days was not only devastated, but also 479 00:28:49,520 --> 00:28:51,960 a breeding ground for criminality, 480 00:28:52,000 --> 00:28:54,440 and all sorts of things were happening. 481 00:28:54,480 --> 00:28:56,720 It was a difficult time for Europe, and I think 482 00:28:56,760 --> 00:28:58,760 he caught that remarkably well. 483 00:28:58,800 --> 00:29:00,800 (ZITHER MUSIC PLAYS) 484 00:29:15,120 --> 00:29:18,640 Viennese families dream only of the city's imperial past 485 00:29:18,680 --> 00:29:21,360 when they relax in the outdoor wine taverns. 486 00:29:34,080 --> 00:29:36,760 One of director Carol Reed's boldest decisions 487 00:29:36,800 --> 00:29:39,760 which helped capture the feeling of post-war Vienna 488 00:29:39,800 --> 00:29:43,160 was his use of a local musician for the film's score, 489 00:29:43,200 --> 00:29:45,800 Anton Karas. 490 00:29:45,840 --> 00:29:49,920 So the apocryphal story goes that Anton Karas was playing 491 00:29:49,960 --> 00:29:55,160 in a traditional wine bar in Vienna, and Carol Reed came in 492 00:29:55,200 --> 00:29:57,960 and heard him and knew that that instrument, 493 00:29:58,000 --> 00:30:02,280 the zither, and Anton Karas were perfect for The Third Man 494 00:30:02,320 --> 00:30:06,560 and apparently recorded him in a hotel room. 495 00:30:06,600 --> 00:30:10,320 And of course, it plays that theme, that music plays 496 00:30:10,360 --> 00:30:13,280 throughout almost the entirety of the film. 497 00:30:13,320 --> 00:30:17,360 And the Harry Lime theme would end up being a huge hit 498 00:30:17,400 --> 00:30:20,800 and sell half a million copies in 1949. 499 00:30:23,120 --> 00:30:25,120 And of course, there's the music. 500 00:30:25,160 --> 00:30:27,880 Anton Karas' glorious zither. 501 00:30:27,920 --> 00:30:31,200 And everyone claims to have been responsible for finding him. 502 00:30:31,240 --> 00:30:35,560 I know. Trevor Howard insists he found him in a cafe. 503 00:30:35,600 --> 00:30:38,200 Carol Reed - "No, I found him." 504 00:30:38,240 --> 00:30:41,720 But whatever they did, they were lucky, weren't they?They were. 505 00:30:41,760 --> 00:30:44,920 And they went completely against the style of music of the time. 506 00:30:44,960 --> 00:30:50,000 Absolutely. It was a real original touch because nobody else 507 00:30:50,040 --> 00:30:52,080 had thought to do that sort of thing. 508 00:30:52,120 --> 00:30:56,280 They hadn't even heard of the zither at the time. 509 00:30:56,320 --> 00:31:01,040 But it became a sort of a top ten tune, didn't it? 510 00:31:01,080 --> 00:31:02,400 Yeah. 511 00:31:02,440 --> 00:31:05,840 And the funny thing was that Carol Reed said 512 00:31:05,880 --> 00:31:09,120 they couldn't get quite the timbre right. 513 00:31:09,160 --> 00:31:14,840 And he put him under his kitchen table, and it became better. 514 00:31:14,880 --> 00:31:16,880 I don't know... The wood was somehow... 515 00:31:18,120 --> 00:31:20,160 I have no idea about it. 516 00:31:20,200 --> 00:31:24,880 But anyway, he said that it was so good under the kitchen table 517 00:31:24,920 --> 00:31:28,320 that he took the kitchen table onto the set 518 00:31:28,360 --> 00:31:31,800 and he put him - Anton Karas - underneath. 519 00:31:31,840 --> 00:31:33,840 And that's how they did the score. 520 00:31:33,880 --> 00:31:37,080 I mean, it sounds like a complete white lie, 521 00:31:37,120 --> 00:31:40,400 but Carol swears that's what happened. 522 00:31:40,440 --> 00:31:43,000 And what do you know of the discovery 523 00:31:43,040 --> 00:31:45,720 of Anton Karas and that zither music? 524 00:31:45,760 --> 00:31:49,680 Carol Reed and Guy Hamilton had been out 525 00:31:49,720 --> 00:31:51,960 having a drink or...after... 526 00:31:52,000 --> 00:31:55,360 obviously after shooting in, I think, Grinzing. 527 00:31:55,400 --> 00:32:00,360 And then Carol said, "Oh, you know, that was interesting." 528 00:32:00,400 --> 00:32:05,160 And Guy then went back and found the musician 529 00:32:05,200 --> 00:32:08,240 who'd been playing that night, who was Anton Karas, 530 00:32:08,280 --> 00:32:13,160 and brought him to the hotel where he played the zither for Carol. 531 00:32:13,200 --> 00:32:19,120 And Carol decided he was going to use zither music in the film. 532 00:32:19,160 --> 00:32:21,640 Even Korda, I think, was against it 533 00:32:21,680 --> 00:32:25,200 because he had Muir Mathieson lined up. 534 00:32:25,240 --> 00:32:29,840 And I think later Selznick, 535 00:32:29,880 --> 00:32:34,680 who really didn't have any input into things, was kind of furious. 536 00:32:34,720 --> 00:32:37,920 But Carol really stuck to his guns. 537 00:32:37,960 --> 00:32:40,720 And what I think was amusing was that Carol 538 00:32:40,760 --> 00:32:42,760 didn't speak a word of German, 539 00:32:43,840 --> 00:32:45,840 and Anton didn't speak a word of English, 540 00:32:45,880 --> 00:32:48,880 but they seemed to get on very well. 541 00:32:48,920 --> 00:32:51,240 And I think he stayed in Carol's house 542 00:32:51,280 --> 00:32:56,160 when he was composing, or learning how to score a film. 543 00:32:56,200 --> 00:32:59,320 After all, he'd never done anything but play in a bar. 544 00:32:59,360 --> 00:33:01,360 (ZITHER MUSIC PLAYS) 545 00:33:40,760 --> 00:33:42,960 (SPEAKS GERMAN) 546 00:33:43,000 --> 00:33:45,200 Nein, danke. Nein. 547 00:33:45,240 --> 00:33:49,560 Now, in historical terms, The Third Man is set at remarkable times. 548 00:33:49,600 --> 00:33:52,800 Although it's a film about a black marketeer and a criminal, 549 00:33:52,840 --> 00:33:55,440 it seems to hint toward the world of espionage, 550 00:33:55,480 --> 00:33:57,480 scuffling through tunnels, crossing borders. 551 00:33:57,520 --> 00:34:01,080 Yes.A sort of new genre was sort of being born with The Third Man. 552 00:34:01,120 --> 00:34:04,840 Yes. It's difficult to say what film it is. 553 00:34:04,880 --> 00:34:09,719 Is it a love story, a drama, a thriller? 554 00:34:09,760 --> 00:34:12,239 It's a bit of everything, isn't it, really? 555 00:34:12,280 --> 00:34:16,800 But the whole thing, I think...the triumph is the atmosphere. 556 00:34:16,840 --> 00:34:21,199 Yes.And you've got to say that wonderfully shot by Robert Krasker. 557 00:34:21,239 --> 00:34:23,239 Absolutely wonderful. 558 00:34:23,280 --> 00:34:27,679 I'm glad he got the Oscar, because no-one deserved it more than he did. 559 00:34:29,760 --> 00:34:32,120 One of the interesting things about The Third Man 560 00:34:32,159 --> 00:34:36,080 is it's created by spies - by Graeme Greene and Alexander Korda, 561 00:34:36,120 --> 00:34:38,280 who worked in the Second World War, and it's created 562 00:34:38,320 --> 00:34:40,320 just at the beginning of the Cold War, 563 00:34:40,360 --> 00:34:44,719 because as the film was being made, the Iron Curtain was going up. 564 00:34:44,760 --> 00:34:47,679 There were revolutions, Communist revolutions in Eastern Europe, 565 00:34:47,719 --> 00:34:51,320 and the beginning of the world of the spy was taking place. 566 00:34:51,360 --> 00:34:53,360 But this film is not about that. 567 00:34:53,400 --> 00:34:56,520 Though it's set in Vienna, which is at the heart of the espionage world, 568 00:34:56,560 --> 00:35:00,680 Vienna and Berlin was where so many of the espionage stories were told. 569 00:35:00,720 --> 00:35:02,720 It is looking back, it's looking at 570 00:35:02,760 --> 00:35:04,840 what's been left behind by the Second World War. 571 00:35:04,880 --> 00:35:07,120 So it's at a pivotal moment in history, 572 00:35:07,160 --> 00:35:10,800 and it tells us about what's happened, where we are. 573 00:35:10,840 --> 00:35:14,040 And in many ways, it lets us know why 574 00:35:14,080 --> 00:35:18,200 Europe moved in the way it was about to move. 575 00:35:18,240 --> 00:35:21,240 I mean, Anna, she walks towards the Russians, 576 00:35:21,280 --> 00:35:23,760 and away from the Americans at the end of the film, 577 00:35:23,800 --> 00:35:26,120 and it's a very significant step. 578 00:35:26,160 --> 00:35:30,040 Where do you turn? And this is clearly a prophetic movie 579 00:35:30,080 --> 00:35:32,840 in so many ways, a prophetic movie where Lime talks about 580 00:35:32,880 --> 00:35:35,120 the corruption, and the future, but it's also about 581 00:35:35,160 --> 00:35:38,200 why Europe will be uncertain about whose side it's on 582 00:35:38,240 --> 00:35:42,320 for the next 40 years, because who really is going to look after 583 00:35:42,360 --> 00:35:45,280 this bedraggled country, this bedraggled woman? 584 00:35:45,320 --> 00:35:49,800 So it's a film which is a pre-Cold War movie 585 00:35:49,840 --> 00:35:53,360 and helps us understand the Cold War movies that are to come. 586 00:35:53,400 --> 00:35:56,840 What is fascinating about the way that Carol Reed 587 00:35:56,880 --> 00:35:59,240 and his cinematographer Robert Krasker 588 00:35:59,280 --> 00:36:05,960 filmed The Third Man is they draw on so many elements of the past. 589 00:36:06,000 --> 00:36:09,600 Film noir, certainly, but they go back even further. 590 00:36:09,640 --> 00:36:12,640 They go back almost to German expressionism. 591 00:36:12,680 --> 00:36:15,240 They go to the Italian neo-realists, 592 00:36:15,280 --> 00:36:19,520 I would say in some shots they even go back to Eisenstein 593 00:36:19,560 --> 00:36:23,440 and the Russians with the sort of fantastic close-ups of weird faces, 594 00:36:24,480 --> 00:36:27,640 the crazy angles, the sort of tilted camera, 595 00:36:27,680 --> 00:36:32,480 which is known as the Dutch angle, the wide angle lenses, 596 00:36:32,520 --> 00:36:36,240 and above all the way the city is lit 597 00:36:36,280 --> 00:36:39,200 and the chiaroscuro shadows. 598 00:36:39,240 --> 00:36:44,680 All of this is all germane to what we now know as film noir, 599 00:36:44,720 --> 00:36:46,760 which is an umbrella term, it's not a genre, 600 00:36:46,800 --> 00:36:50,720 but this is actually pushed to its absolute extreme 601 00:36:50,760 --> 00:36:55,680 in this film, and it creates an atmosphere that is both 602 00:36:55,720 --> 00:36:58,560 realistic and dreamlike simultaneously, 603 00:36:58,600 --> 00:37:00,600 and that is remarkable. 604 00:37:00,640 --> 00:37:03,760 Do you believe, Mr Martins, in the stream of consciousness? 605 00:37:06,320 --> 00:37:08,320 Stream of consciousness? Well... 606 00:37:09,400 --> 00:37:12,680 Well...What author has chiefly influenced you? 607 00:37:13,720 --> 00:37:16,520 Grey.Grey? What Grey? 608 00:37:16,560 --> 00:37:18,800 Zane Grey.Oh, that's Mr Martins' little joke. 609 00:37:18,840 --> 00:37:21,000 Of course, we all know perfectly well Zane Grey 610 00:37:21,040 --> 00:37:24,360 wrote what we call Westerns - cowboys and bandits. 611 00:37:24,400 --> 00:37:27,880 Mr James Joyce. Now, where would you put him? 612 00:37:30,800 --> 00:37:32,800 Would you mind repeating that question? 613 00:37:32,840 --> 00:37:37,280 I said, where would you put Mr James Joyce? In what category? 614 00:37:37,320 --> 00:37:41,680 Can I ask, is Mr Martins engaged on a new book? 615 00:37:41,720 --> 00:37:45,440 So many directors talk about The Third Man in ways 616 00:37:45,480 --> 00:37:47,480 that you wouldn't even expect. 617 00:37:47,520 --> 00:37:49,520 So there are films like Miller's Crossing, 618 00:37:49,560 --> 00:37:51,560 the crime film by the Coen Brothers, 619 00:37:51,600 --> 00:37:53,800 which visually references The Third Man a lot. 620 00:37:53,840 --> 00:37:55,880 But even outside of crime or horror, 621 00:37:55,920 --> 00:37:58,600 or the kind of genres you might expect to 622 00:37:58,640 --> 00:38:01,040 take influence from The Third Man, 623 00:38:01,080 --> 00:38:04,040 there are directors like Clint Eastwood who said 624 00:38:04,080 --> 00:38:07,120 the lighting of The Third Man inspired Unforgiven, his Western. 625 00:38:07,160 --> 00:38:10,640 People like Martin Scorsese, who've written 626 00:38:10,680 --> 00:38:14,600 sort of essays and odes to how much he loved the film 627 00:38:14,640 --> 00:38:18,320 when he first saw it as a kid on TV in the 1950s. 628 00:38:18,360 --> 00:38:22,080 And so it is a film where the legacy lives on 629 00:38:22,120 --> 00:38:25,280 beyond just where you would expect in many ways. 630 00:38:25,320 --> 00:38:29,800 And the theme music, of course, was also a huge influence 631 00:38:29,840 --> 00:38:32,240 on Nino Rota for La Dolce Vita. 632 00:38:32,280 --> 00:38:37,480 So the music as well has really lived a full life since 1949. 633 00:38:38,640 --> 00:38:41,960 It quite frightened me in parts. I felt uneasy. 634 00:38:42,000 --> 00:38:43,720 Yes. 635 00:38:43,760 --> 00:38:48,080 But I think there is a lot of romance in it. 636 00:38:48,120 --> 00:38:50,120 Yeah. 637 00:38:50,160 --> 00:38:55,520 But it's... It's really a flawless film of its kind, I think.Yes. 638 00:38:55,560 --> 00:38:57,840 There's nothing to match The Third Man. 639 00:39:10,560 --> 00:39:12,560 All right. 640 00:39:12,600 --> 00:39:14,600 (GUNFIRE) 641 00:39:18,160 --> 00:39:21,120 Now, there's obviously a myth around Orson Welles 642 00:39:21,160 --> 00:39:24,360 and his participation, and how complicated 643 00:39:24,400 --> 00:39:26,680 he might have been to work with. 644 00:39:26,720 --> 00:39:29,160 But in terms of the sewers, can you maybe give us 645 00:39:29,200 --> 00:39:31,440 a picture of what Orson Welles was and wasn't 646 00:39:31,480 --> 00:39:34,040 willing to do in terms of filming? 647 00:39:34,080 --> 00:39:39,080 Well, the first time Orson was required in the sewers, 648 00:39:39,120 --> 00:39:42,000 he was required for a close-up. 649 00:39:42,040 --> 00:39:47,240 And when it was ready, they called him and he came down. 650 00:39:47,280 --> 00:39:50,720 But he saw the crew, including Joe Cotten, 651 00:39:50,760 --> 00:39:53,640 Trevor Howard, eating sandwiches... 652 00:39:54,760 --> 00:39:57,480 ..and went sort of berserk and said 653 00:39:57,520 --> 00:40:00,480 this was unhygienic, disgusting. 654 00:40:01,560 --> 00:40:03,560 And they just got the close-up. 655 00:40:03,600 --> 00:40:07,360 And he utterly refused to ever go down the sewers again. 656 00:40:07,400 --> 00:40:13,160 And for that reason, Vincent Korda, who was the art director, 657 00:40:13,200 --> 00:40:15,320 had to build a set in London. 658 00:40:15,360 --> 00:40:17,360 It's easy in hindsight to say it was a classic 659 00:40:17,400 --> 00:40:19,920 and all those things, because we've seen the film, but... 660 00:40:19,960 --> 00:40:23,000 did you sense a certain kind of magic under way 661 00:40:23,040 --> 00:40:25,760 as you watched scenes being shot? 662 00:40:25,800 --> 00:40:28,160 No, I don't think so. 663 00:40:28,200 --> 00:40:32,600 When you're working in films, you always hope that the end product 664 00:40:32,640 --> 00:40:37,080 will be successful and enjoyed by the public, 665 00:40:37,120 --> 00:40:41,720 but no, we all just hoped the film would be a success. 666 00:40:41,760 --> 00:40:43,760 We had no idea. 667 00:40:43,800 --> 00:40:49,240 I mean, the whole film is pretty bleak, isn't it? 668 00:40:49,280 --> 00:40:50,960 Yes. 669 00:40:51,000 --> 00:40:54,000 I mean, the whole atmosphere of the film is quite frightening. 670 00:40:54,040 --> 00:40:59,800 I find it. And Holly... this writer of Westerns 671 00:40:59,840 --> 00:41:03,800 is coming into this...he didn't understand at all. 672 00:41:05,120 --> 00:41:08,880 But in a way, Holly was us, because we didn't realise 673 00:41:08,920 --> 00:41:11,400 Europe was like that in those days. 674 00:41:13,080 --> 00:41:15,200 (CHILD'S VOICE) What is it? 675 00:41:15,240 --> 00:41:17,480 Porter's been murdered. 676 00:41:17,520 --> 00:41:20,040 (SPEAKS GERMAN) 677 00:41:20,080 --> 00:41:23,120 (SHE SPEAKS IN GERMAN) They think you did it. 678 00:41:23,160 --> 00:41:26,160 It was a bleak, quite forbidding place. 679 00:41:27,280 --> 00:41:30,760 It hadn't really reached the post-war years 680 00:41:30,800 --> 00:41:33,400 when everything got better economically. 681 00:41:33,440 --> 00:41:37,880 It was right down, and that was...it was a portrait of Europe. 682 00:41:37,920 --> 00:41:40,240 I don't think I've ever seen another film, 683 00:41:40,280 --> 00:41:42,960 which wasn't a documentary 684 00:41:43,000 --> 00:41:47,080 which was so good at painting what Europe was in those years. 685 00:41:48,400 --> 00:41:51,240 Of course, you have a romance that isn't a romance at the centre. 686 00:41:51,280 --> 00:41:53,720 Yes.With Alida Valli.Yes. 687 00:41:53,760 --> 00:41:56,280 The Third Man is a film that starts and ends 688 00:41:56,320 --> 00:41:58,520 with the same man's funeral 689 00:41:58,560 --> 00:42:01,040 back here at the Zentralfriedhof cemetery 690 00:42:01,080 --> 00:42:04,160 in another shot cemented into film history. 691 00:42:04,200 --> 00:42:06,200 Holly will wait for Anna, 692 00:42:06,240 --> 00:42:08,920 still a fool for love, despite everything. 693 00:42:08,960 --> 00:42:12,840 What are your memories of shooting the final scene of the Third Man, 694 00:42:12,880 --> 00:42:15,760 which is another that has sort of become part of its mythology? 695 00:42:17,000 --> 00:42:21,400 Well, it was my unit that shot that, so I do remember it rather vividly. 696 00:42:22,880 --> 00:42:27,800 Carol said to Guy, "Put her back there." 697 00:42:27,840 --> 00:42:30,320 And we did take one. 698 00:42:30,360 --> 00:42:32,360 And she walks. And she walks. 699 00:42:34,040 --> 00:42:36,200 Take two - "Put her further back, Guy." 700 00:42:38,760 --> 00:42:40,840 And then it was the third take. 701 00:42:40,880 --> 00:42:43,160 "Put her further back, Guy." 702 00:42:43,200 --> 00:42:45,560 And... Which he did. 703 00:42:45,600 --> 00:42:47,800 And she did the walk. 704 00:42:47,840 --> 00:42:51,120 The office was saying, "You have to cover it, Carol." 705 00:42:51,160 --> 00:42:54,080 And he said no. 706 00:42:54,120 --> 00:42:57,080 And there was no way he was going to cover it. 707 00:42:57,120 --> 00:43:01,480 That was his idea and his decision. 708 00:43:01,520 --> 00:43:03,920 And personally, I think it was the right one. 709 00:43:03,960 --> 00:43:07,320 Because I think from legend, Graham Greene wanted a happy ending. 710 00:43:07,360 --> 00:43:10,000 And in Graham Greene's novella, it's a happy ending. 711 00:43:10,040 --> 00:43:12,040 But it was Carol who said, "No, no, no. 712 00:43:12,080 --> 00:43:14,080 It has to be her walking past him 713 00:43:14,120 --> 00:43:16,560 and sort of past the camera and out of the shot. 714 00:43:16,600 --> 00:43:22,160 Yes, it was, and he wouldn't do an alternative take at all. 715 00:43:23,560 --> 00:43:27,080 Well, Selznick didn't like the ending, that's for sure. 716 00:43:27,120 --> 00:43:29,240 And I don't think Korda did much either. 717 00:43:30,640 --> 00:43:33,640 In fact, Graham Greene was doubtful, too. 718 00:43:33,680 --> 00:43:36,000 But Carol wanted it that way, 719 00:43:36,040 --> 00:43:39,920 and in the end, Greene agreed with him and thought it was right. 720 00:43:39,960 --> 00:43:45,360 Funny thing is that Holly, I mean, he didn't know what was happening. 721 00:43:45,400 --> 00:43:49,680 Joseph Cotten was sitting there waiting for the director to say cut. 722 00:43:49,720 --> 00:43:54,680 He didn't, and he kept on smoking his cigarette as the girl went past. 723 00:43:54,720 --> 00:43:56,720 And he was still smoking, he thought, 724 00:43:56,760 --> 00:43:59,360 "What am I going to do? What am I supposed to do?" 725 00:43:59,400 --> 00:44:02,680 Finally, when Carol said cut... 726 00:44:02,720 --> 00:44:05,120 "Oh, thank God." 727 00:44:05,160 --> 00:44:07,600 Had no idea it was going to be so difficult. 728 00:44:07,640 --> 00:44:11,480 He didn't know what the ending was going to be, apparently. 729 00:44:11,520 --> 00:44:15,080 So... But it was a coup, the ending, I think he was right too, 730 00:44:15,120 --> 00:44:17,960 And it made the film a little bit darker. 731 00:44:18,000 --> 00:44:20,000 (ZITHER PLAYS) 732 00:44:20,040 --> 00:44:22,040 AcccessibleCustomerService@sky.uk