"Третий человек"

[arbeka]

Почему англичане выбрали фильм "Третий человек" лучшим в своем списке, может озадачить современного зрителя.
Меня, например.
Конечно, год. 1949. Для этого времени, вероятно, лента порвала. Что порвала?

Магия Уэллса Орсона? Слаженная работа всех актеров? Ведь сюжет, по нашим временам, слабоват.
И эта музыка, звучащая издевательски...
......................
"По приглашению друга детства Гарри Лайма (Орсон Уэллс) в Вену приезжает автор вестернов, американский писатель Холли Мартинс (Джозеф Коттен). Добравшись по адресу, он узнаёт от дворника (Пауль Хёрбигер), что Гарри совсем недавно погиб в результате несчастного случая, произошедшего прямо под окнами его дома: его сбила машина. Мартинс успевает только на похороны друга, где встречает офицера британской военной разведки майора Кэллоуэя (Тревор Ховард) и загадочную красавицу Анну (Алида Валли)."

Comments

George Orson Welles was born May 6, 1915

[belkafoto.livejournal.com]

An alternative story of the source of his first and middle names was told by George Ade, who met Welles's parents on a West Indies cruise toward the end of 1914. Ade was traveling with a friend, Orson Wells (no relation), and the two of them sat at the same table as Mr. and Mrs. Richard Welles. Mrs. Welles was pregnant at the time, and when they said good-by, she told them that she had enjoyed their company so much that if the child were a boy, she intended to name it for them: George Orson.[14]

Panic was reportedly spread

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The Mercury Theatre's radio adaptation of The War of the Worlds by H. G. Wells October 30, 1938, brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners was later reported to have created widespread confusion among listeners who failed to hear the introduction, although the extent of this confusion has come into question.[3][51][52][53] Panic was reportedly spread among listeners who believed the fictional news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech.[54]

were married on

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Orson Welles and Chicago-born actress and socialite Virginia Nicolson (1916–1996) were married on November 14, 1934.[17]:332 The couple separated in December 1939[20]:226 and were divorced on February 1, 1940.[141][142] After bearing with Welles's romances in New York, Virginia had learned that Welles had fallen in love with Mexican actress Dolores del Río.[20]:227

Infatuated with her since adolescence, Welles met del Río at Darryl Zanuck's ranch[22]:206 soon after he moved to Hollywood in 1939.[20]:227[22]:168 Their relationship was kept secret until 1941, when del Río filed for divorce from her second husband. They openly appeared together in New York while Welles was directing the Mercury stage production Native Son.[22]:212 They acted together in the movie Journey into Fear (1943). Their relationship came to an end due, among other things, to Welles's infidelities. Del Río returned to México in 1943, shortly before Welles married Rita Hayworth.[143]

Joseph Cotten

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Cotten earned spending money playing professional football on Sundays, for $25 a quarter. After graduation, he earned enough money as a lifeguard at Wilcox Lake to pay back his family's loan, with interest.[2]:4–7

He moved to Miami in 1925 and worked as an advertising salesman for The Miami Herald at $35 a week. He started performing at the Miami Civic Theatre, and worked there for five years, also reviewing the shows for the Herald.[3]

Alida Valli

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Алида Валли (итал. Alida Valli, наст. имя баронесса Алида Мария Лаура Альтенбургер фон Маркенштайн-Фрауэнберг, нем. Alida Maria Laura Altenburger von Marckenstein u. Frauenberg; 31 мая 1921 — 22 апреля 2006) — итальянская актриса.

Вильма Монтези

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Вильма Монтези (3 февраля 1932 — 9 апреля 1953) — итальянская фотомодель, жертва жестокого убийства, оставшегося нераскрытым.
Убийство

Безжизненное тело Монтези обнаружили на общественном пляже в районе Остия, что привело к длительному расследованию, в ходе которого появились сенсационные заявления о наркотиках и секс-оргиях римского общества. Выяснилось, что Монтези состояла в любовной связи с представителями власти.

Обвинение Уго Монтанья и Пьеро Пиччони (сына вице-премьера министра) вызвало скандал, но впоследствии с них сняли все обвинения. Преступление так и осталось нераскрытым.

Anton Karas

[belkafoto.livejournal.com]

Антон Карас (нем. Anton Karas, 7 июля 1906, Вена — 10 января 1985, там же) — австрийский музыкант-импровизатор на цитре, наиболее известный созданием музыки к фильму Кэрола Рида «Третий человек».

Антон Карас родился в многодетной рабочей семье смешанного чешско-венгерского происхождения. Он с детства мечтал стать музыкантом, но семья была неспособна оплатить образование, и Карас работал с 14 лет, параллельно сперва осваивая цитру самоучкой, а затем беря частные уроки музыки. В 1924—1928 году он учился в Венском университете музыки и исполнительского искусства. В 1925 году Карас потерял работу и стал выступать в качестве импровизатора в венских кабачках-хойригерах. Во время Второй мировой войны он был призван в вермахт, служил в противовоздушной обороне и на Восточном фронте.

В 1948 году британский режиссёр Кэрол Рид, снимавший в Вене фильм-нуар «Третий человек» и искавший для фильма музыки, которая могла бы передать местный колорит, услышал в одном из кабачков (по некоторым данным, по наводке игравшего в «Третьем человеке» Тревора Ховарда) игру Караса и пригласил его записать музыку к фильму. Карас выехал в Лондон, где сочинил ряд тем для фильма, а большую часть музыки сымпровизировал непосредственно на озвучании ленты, глядя на экран. После выхода «Третьего человека» на экран в 1949 году к Карасу пришла всемирная известность, уже к концу года было продано более полумиллиона пластинок с главной темой фильма.

Carol Reed

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Carol Reed was born in Putney, south-west London.[3] He was the out-of-wedlock son of actor-producer Sir Herbert Beerbohm Tree and his mistress, May Pinney Reed.[4] He was educated at The King's School, Canterbury.

and then comes along this silly American!

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The Third Man was co-produced by David O. Selznick and Korda, with the American actors Orson Welles and Joseph Cotten in two of the leading roles. Reed insisted on casting Welles as Harry Lime, although Selznick had wanted Noël Coward for the role. The film required six weeks of location work in Vienna, during which time it was Reed himself who accidentally discovered Anton Karas, the zither player responsible for the film's music, in a courtyard outside a small Viennese restaurant.[11]

Reed once said: "A picture should end as it has to. I don’t think anything in life ends 'right'". While Greene wanted Holly Martins (Cotten) and Anna Schmidt (Alida Valli) to reconcile at the end of the film, after Lime, her lover, is killed by Martins, Reed insisted that Anna should ignore him and walk on. "The whole point of the Valli character in that film is that she’d experienced a fatal love – and then comes along this silly American!"[11]

at the start of the Cold War

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The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and distorted "Dutch angle" camera technique, is a major feature of The Third Man. Combined with the iconic theme music, seedy locations and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical post-war Vienna at the start of the Cold War.

and never intended it to be read

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Before writing the screenplay, Graham Greene worked out the atmosphere, characterisation and mood of the story by writing a novella.[8] He wrote it as a source text for the screenplay and never intended it to be read by the general public, although it was later published under the same name as the film. In 1948 he met Elizabeth Montagu in Vienna. She gave him tours of the city, its sewers and some of its less reputable night-clubs. She also introduced Greene to Peter Smolka, the eastern European correspondent for The Times. Smolka gave Greene the stories about the black market in Vienna.[9]

Elizabeth Varley

[belkafoto.livejournal.com]

Elizabeth Varley (26 September 1909 – 6 May 2002), born Elizabeth Susan Douglas-Scott-Montagu, was the daughter of John Douglas-Scott-Montagu, 2nd Baron Montagu of Beaulieu. She pursued careers in the entertainment industry, literature, and advertising.

She travelled extensively throughout Europe in 1935–39, and also studied at a piano school in Switzerland. When asked about her racial background while applying for a visa at the German consulate in St. Gallen, she angrily swept items – including a portrait of Hitler – from the desktop onto the floor. Her passport was confiscated.[1]

She was sent to France at the start of the Second World War as an ambulance driver. After her unit retreated to Bordeaux, she refused to leave and hid at a friend's home for several months. On a train to Switzerland she noticed she was under surveillance, so she asked two hat salesmen for help at the next station. She escaped while hidden under the boxes in their car.[1]

While working at the Political Intelligence Department at the British Embassy in Berne, she translated material from within Germany, including information on what was happening at Treblinka extermination camp.[1]

as an NKVD agent codenamed "ABO"

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Harry Peter Smollett, OBE (1912–1980), born Hans Peter Smolka and sometimes continuing to use that name as a nom de plume even after he changed it by deed poll, was a journalist for the Daily Express and later a Central Europe correspondent for The Times.[1] During the Second World War, Smollett became head of the Russian section at Britain's Ministry of Information and was responsible for organising pro-Soviet propaganda. He was later identified as a Soviet agent.

Born in Vienna, he came to Britain in 1933 as an NKVD agent codenamed "ABO". Although he changed his name to Smollett on becoming a naturalised British subject in 1938, he returned to using the surname Smolka when he returned to Vienna after the war.[2] According to the Mitrokhin Archive, Smollett had been recruited by Kim Philby.[3]

George Orwell included him on the list of those who "in my opinion are crypto-communists, fellow-travellers or inclined that way and should not be trusted as propagandists"[1] that he gave to the Information Research Department in 1949 as "almost certainly agent of some kind" and "a very slimy person"[4]

he has been proved triumphantly right.

[belkafoto.livejournal.com]

During the shooting of the film, the final scene was the subject of a dispute between Greene, who wanted the happy ending of the novella, and Reed and David O. Selznick, who stubbornly refused to end the film on what they felt was an artificially happy note. Greene later wrote: "One of the very few major disputes between Carol Reed and myself concerned the ending, and he has been proved triumphantly right."[10]

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Principal photography

Six weeks of principal photography was shot on location in Vienna,[17] ending on 11 December 1948. Some use was made of the Sievering Studios facilities in the city.[18] Production then moved to the Worton Hall Studios in Isleworth[19] and Shepperton Studios near London and was completed in March 1949.[20]

The scenes of Harry Lime in the sewer were shot on location or on sets built at Shepperton; most of the location shots used doubles for Welles.[21] However, Reed claimed that, despite initial reluctance, Welles quickly became enthusiastic, and stayed in Vienna to finish the film.[22] The crew sprayed water on the cobbled streets to make them reflect light at night.[21]

According to the recollection of assistant director Guy Hamilton, interviewed in 2015, Greene and Reed worked very well together, but Orson Welles "generally annoyed everyone on the set". His temporary absence forced Hamilton to step in as body double for him. Apparently, the filming of the sewer scenes was moved to studios in the UK as a result of Welles' complaints about shooting in the actual sewers.[23]

Reed had four different camera units shooting around Vienna for the duration of the production. He worked around the clock, using Benzedrine to stay awake

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Anton Karas composed the musical score and played it on the zither. Before the production came to Vienna, Karas was an unknown performer in local Heurigers. According to Time:[30]

The picture demanded music appropriate to post-World War II Vienna, but director Reed had made up his mind to avoid schmaltzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, [and] was fascinated by the jangling melancholy of his music.

According to Guy Hamilton, Reed met Karas by coincidence at a party in Vienna, where he was playing the zither.[23] Reed brought Karas to London, where the musician worked with Reed on the score for six weeks.[30] Karas stayed at Reed's house during that time

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Still, the Viennese Arbeiter-Zeitung, although critical of a "not-too-logical plot", praised the film's "masterful" depiction of a "time out of joint" and the city's atmosphere of "insecurity, poverty and post-war immorality"

[mithrilian.livejournal.com]

А зачем 25 комментариев, а не один пост? И что за список?