Case 12. THE THIRD MAN (1949) w/ special guest Matt Robinson

#orsonwelles #hollywoodmovies #film
Your cinematic sleuths are back at it! This week's case is 1949's THE THIRD MAN, starring Orson Welles, Joseph Cotten, Trevor Howard, and Alida Valli
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Mean Streets is produced by Luke Deckard and Matthew Booth.
Edited by Luke Deckard
Music by Luke Deckard

[@freddylubin]

Carol Reed probably had no idea what "film noir" was. The term was first used, by a French critic, in 1946, and was yet to become a popular and known concept. It was applied to Film Studies somewhat later, in retrospect.

[@maartenlemmens8628]

The worldfamous theme music is unlike the usual ominous score for film noir. It s jaunty, upbeat, pleasant, almost more fitting for a comedy. But neveryheless it works really well.

[@TOFKAS01]

When you think that its about Vienna, then this music is quite right.

[@stevebowbrick9024]

We're right at the beginning of the cold war. The European capitals are full of spooks and chancers. And Vienna is one of those marginal, hinge cities - Greene loved these places - Havana, Freetown, Istanbul. Holly's 'propaganda' job is the kind of shabby, fringe fiction that Greene loved, like Guinness selling Hoovers in Cuba. It's a sinecure, not an actual appointment. Great ep, by the way! Thanks for the pod!

[@MeanStreets-TheFilmNoirPodcast]

Greene sure did love it! Would be been interesting to see Holly's "job" in a little more detail. Thanks for listening! Glad you enjoyed the chat! :) - Luke

[@freddylubin]

To the extent that terms are useful, and not misrepresenting (such as the use of "German Expressionism" for films of the era that had no examples of whatever that's' supposed to be), the greatness of "The Third Man" is how it effortlessly, and without much concern about the terms and words, combined elements of "noir" with elements of "Italian Neoralism" (with all the problems with THAT term). It might seem an oxymoron of terms, but it works well.

[@MeanStreets-TheFilmNoirPodcast]

Thanks for listening and commenting! Yes, it’s true most of these films were not aware that they were “noir.” Of course for our purposes the Third Man is ideal for us to discuss in the noir context. We talk about the French term and when American film studies took it on in the 60s after the era that is typically defined as film noir ended in the Big Sleep episode. 🫡🕵🏻‍♂️

[@freddylubin]

Greene hated Americans, and one of the shady side-characters in the novella was American, changed for the film, to make it seem less anti-American.

[@freddylubin]

My last comment, promise. There's really no sense in discussing this film ONLY as an example of noir. It's limiting, and often leads to meaningless conclusions.