So much is right about the Third Man that could have gone so wrong. Producer David O. Selznick wanted it shot entirely on studio sets. Director Carol Reed disagreed and won, which is why it’s shot on the dank streets of post-war Vienna, a city as overrun with black marketeers as the film suggests. Selznick also wanted Noel Coward to play Harry Lime, the role eventually taken by Orson Welles. Perhaps Coward would have made a good “Third Man”, a shit trading penicillin to the highest bidder and damn the children who die as a consequence. But if Coward had taken the role, there wouldn’t have been the “cuckoo clock” speech, written by Welles, which makes the case that all human achievement is founded on suffering. As to the rest of it, who knows what would have happened once Selznick started getting his way – for the American release he changed Graham Greene’s opening monologue, which does in five minutes of scene-setting what some films can’t manage in an hour. It’s a masterpiece of concision. But then every aspect of the film says “masterpiece” – the writing, the directing, the casting, locations, Anton Karas’s zither score, the cinematography. It’s still regulary voted “Best British film of all time”.
© Steve Morrissey 2007