Film Gang Review: The Third Man

Jack Meredith's review on The Third Man.

The Purple frontage of the Jekyll and Hyde pub immediately stands out from the distinctly grey surroundings on Steelhouse Lane, like an oasis in a concrete jungle you are enticed to quench your thirst in the warm and friendly bar. We, however, had come for a far more distinguished purpose than simply to drink beer and chat drivel, we had come to drink gin!

Take a walk up stairs and you'll discover one of Birmingham's hidden little gems, a cosy back bar with polished wood furnishings, warm red upholstery, and a strictly vintage feel reminding you of a bygone era when men tipped their hats in passing. The Juniper film club meets weekly in this secret abode to watch an assortment of classic films from mostly pre-60's. Tonight's treat was a an unorthodox piece of film noir The Third Man, voted 35th in the top all time films, featuring a bemusing and beguiling score played on a zither, and of course the illusive yet powerful presence of Orson Welles. After a warm welcome from the night's occasional host and local Burlesque Artist Billie Rae, the lights dimmed and we took our seats on the cushioned pews that skirt the edge of the room. As the opening credits started with the shaky and slightly fuzzy text showing the title, it felt as if there were a projector in the back of the room and we were suddenly in some 40's cinema, the smoke from the cigarettes smoked on screen seemed to thicken, like the plot, in the air around us.

I have heard people criticise this film for its plot claiming it is too thin on the ground, and lacks any substance, I beg to differ. The story is established immediately, post war Vienna is the backdrop and there is suspicion in the air from the off. The characters are presented and defined with clarity and precision so that we have an idea of who's in the film before the script has even got going. Not that it takes long for the story to take hold, as Holly Martins arrives to discover his friend has died you immediately want to know, Why? How? and Who?

Over the next hour and a half the intriguing and at times suspenseful story unveils itself like Harry Lime (Welles) stepping out from the shadows. The narrative twists and turns like sewers under the city which become the backdrop for the tense final scene where the film reaches its gripping conclusion. Helped along the way by a script that blends some subtle humour with some sharp and pointed dialogue, charismatically articulated through Cotten in the lead role. However the real strength of this film is the way it is shot, cinematographer Robert Krasker demonstrates perfectly how stories told in film rely on devices other than just words and action. The shadily lit alleyways and street corners give the impression that anything could be lurking round the next corner, it is hard to find a better example of a film (shot in black and white) that contains so much texture and ambience, that so effectively creates a world for this film to be played out in. If you haven't yet seen this classic, then you should waste no time in getting hold of a copy.

All in all this was a top quality night, a great opportunity to see a wonderful film on a (relatively) big screen, I would recommend this night for anybody who enjoys revisiting the classics, it is a shame nights such as these don't attract more attention from the local community. If you are thinking about coming next week they are showing 'It's a Wonderful Life' surely perfect for this time of year, and if you haven't already done so, the perfect opportunity to initiate yourself. As a final note, I don't normally like popcorn, but the free popcorn distributed on every table was very delicious.

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