Post-war Disillusionment in The Third Man
Carol Reed’s 1949 thriller, The Third Man, presents an unflinching depiction of the state of morals and guilt, namely the lack of aforementioned qualities, in post-war Europe. Following the end of World War II, many experienced difficulties in readjusting to life after war. This post-war disillusionment contributed to the development of a branch of film noir concerned with “sordidness of...urban crime” (Schrader 10). The Third Man is an example of such a film. While the genre of film noir cannot be succinctly defined, it does possess certain distinctive elements. One such element is anti-traditional mise-en-scene, defined by Place and Peterson in “Some Visual Motifs of Film Noir.” The use of anti-traditional …show more content…
When Lime initially runs through the tunnel, his shadow is many times larger than he is, and in the immediate next shot, his shadow appears to be running towards the camera. Later, as the policemen search for Lime using their torches and flashlights, their shadows appear to be moving in the opposite direction of them. This presentation of shadows, counterbalanced by the presence of their owners, aims to represent the “ominous and foreboding qualities” (Place and Peterson 68) of the characters. The confusing directionality of the shadows’ movements is also meant to emphasize the twists and turns of the serpentine sewer system; the construction of the sewers almost seems impossible, with ostensible dead ends. This is especially apparent when comparing the convoluted paths of this underground world with the much more rigid and straight streets of Vienna. Perhaps this is meant to juxtapose Lime’s character with that of Martins; while Martins, who is most of the time above ground, is emphatically trying to do the right thing, Lime, who spends his days hiding in the sewers, is a decidedly amoral character. The depiction of the seemingly contradictory paths of the shadows once again emphasizes the feelings of disconnection and disassociation that were prevalent post World War
Carol Reed’s 1949 thriller, The Third Man, presents an unflinching depiction of the state of morals and guilt, namely the lack of aforementioned qualities, in post-war Europe. Following the end of World War II, many experienced difficulties in readjusting to life after war. This post-war disillusionment contributed to the development of a branch of film noir concerned with “sordidness of...urban crime” (Schrader 10). The Third Man is an example of such a film. While the genre of film noir cannot be succinctly defined, it does possess certain distinctive elements. One such element is anti-traditional mise-en-scene, defined by Place and Peterson in “Some Visual Motifs of Film Noir.” The use of anti-traditional …show more content…
When Lime initially runs through the tunnel, his shadow is many times larger than he is, and in the immediate next shot, his shadow appears to be running towards the camera. Later, as the policemen search for Lime using their torches and flashlights, their shadows appear to be moving in the opposite direction of them. This presentation of shadows, counterbalanced by the presence of their owners, aims to represent the “ominous and foreboding qualities” (Place and Peterson 68) of the characters. The confusing directionality of the shadows’ movements is also meant to emphasize the twists and turns of the serpentine sewer system; the construction of the sewers almost seems impossible, with ostensible dead ends. This is especially apparent when comparing the convoluted paths of this underground world with the much more rigid and straight streets of Vienna. Perhaps this is meant to juxtapose Lime’s character with that of Martins; while Martins, who is most of the time above ground, is emphatically trying to do the right thing, Lime, who spends his days hiding in the sewers, is a decidedly amoral character. The depiction of the seemingly contradictory paths of the shadows once again emphasizes the feelings of disconnection and disassociation that were prevalent post World War