Sequence Analysis of the Third Man

10/7/12 The Third Man Sequence Analysis In chirrup Reeds The Third Man, the sequence in which the constabulary and their bait, Holly, anxiously wait for the arrival of their target, provoke, is full of doubt and displayed with all over 25 prospects in less than 3 minutes. The sequence captures the anxiousness and suspense experienced by all the characters through its quick trimmeds of empty streets, d one and only(a) for(p) buildings, and dark tints. The score of this sequence heavily influences the mood and different thematic elements of the scene.Through this nearly silent (almost no dialogue) segment, Reed set outs the sweethearts into the scene through the perspectives of different characters surveying the empty, quiet and dark city of capital of Austria for the adult male they are trying to capture, Harry Lime. The first fissure of this sequence is a fade-in of the cafe in which Holly is settling put down while waiting for Harry. The signature tune zithern medicat ion picks up again to indicate the suspense of patiently waiting to complete a set-up that will allow the guard to view as a criminal.It past cuts to inside the cafe where Holly anxiously sits and begins to look bulge out of doors the window examining the ominous, empty streets of Vienna. This piquance is a prime example of the unequalled askew camera placement used throughout the entire strike. In this snap, like several others, the frame is angled quite awkwardly. This technique embodies the reality of a dark, odd and intense world in which noir films took place. The next shaft of light takes us outside with a long pan from left to rightfield. This fortuity puts us in the perspective of Holly as he slowly scopes out an empty street.This zoomed in pan accurately conveys Hollys anxiety of Harrys arrival, as he attentively searches the street for any signs of Harry. This cuts gumption to Holly who is moving nigh(a)r to the window in order to get a better look down the streets. Then a quick cut puts us back to Hollys perspective of the street and yet again we impose a vacant, dark street. However this panorama is still and focuses on the Vienna statuary. The next cut is of a officer hiding among these statues. The juxtaposition of these two shots is a prime example of Carol Reeds montage and genius editing choices.Holly closely looks at this landmark, which happens to be the laws hideout. This allows the viewer to see the elaborate plan the police countenance created and be placed right in the middle of it. We are otiose to see the police from the view request of the meetings location barely once zoomed in we can see them hidden in the depths off the phantoms created by these expectant statues and mainstays. The shot of the policeman hidden along the statue cuts readily to a shot of a still, dark street. The perspective then switches to that of the policeman.The next cut shows some other policeman, this time zoomed in on his face. Th is shot has much more glint on the policemans face. It is a close up shot from a lower viewpoint. This allows us to understand the different placements and hiding descry of these police officers that are waiting to capture their target. This then cuts again to this policemans view of the street. This rapid crosscutting of straight shots juxtaposed with angled shots of the policemen and their advantage points, on board the portentous strumming of the zither creates a very ominous and suspensive setting and mood.It places the viewer inside the set-up as if we too are mutely and anxiously surveying the war-torn streets of Vienna for Harry Lime. This cuts to a shot that displays Reeds undeniable element of lighting. A police officer is placed in the center of the frame in profile. As he exhales, the low-key lighting picks up the fog created by his warm breath. This cuts again to the policemans vantage point down a dim alley. This cuts to another shot of a policeman with extraordina ry lighting. The lighting only allows the viewer to see the policemans nestle and below.His eyes and forehead are hidden by the shadow of his hat, until he impacts his eyes. The lighting allows us to see the whites of his eyes as they affect from right to left across the frame. Only seeing his eyes as they move force us to follow his eyes and look into his vantage point that is seen in the next shot of another empty road. This cuts to a close up of another policemans face, where again the lighting picks up and reflects off of the fog. This quickly cuts to another empty street view, which then quickly cuts back to Holly.This shot of Holly is still angled awkwardly, only now we see Holly impatiently playing with his cup. The shot is important because it again shows us Hollys fickle qualitys towards the situation he is in. Throughout the film he has had obstacle deciding on whether or not to help the police bring in his fri pole Harry. This shot of Holly shows the internal debate he is experiencing in the mere three seconds it is seen. We then cut back to the first police officer in the statuary. His shadow is resplendently cast on the column next to him and our eyes are drawn to it.We see his shadow move as he notices something. This cuts to his vantage point of a street that is last no longer empty. A giant shadow is emerging alongside a building. The menacing shadow stands two stories high. This creates a strong feeling of suspicion and fear, yielding an expectation by viewers and the police that the shadow will be Harry. The sight of a humongous shadow go up sufficiently annexs the suspense of the sequence. This cuts back to the policeman in what proves to be one of the most significant and well-filmed shots of the movie.It cuts to the same police officer who makes the first gruelling of the sequence a simple pssst. This is to signal that Lime is approaching to person below. The camera pans down below the officer, and zooms into a dark corner of th e statuary covered by shadows. The lighting of this shot is incredible. As the shot zooms in to its closest point, the lighting reveals the hiding Calloway and Paine as they merge from the shadowy depths of the statuary. not only is this shot brilliantly lit, but it also displays the films mise-en-scene of stainion.The two unscrupulous officers are standing underneath what was once beautiful religious statuary. Post-war Vienna is nothing like what it was and is now a depressing, crumbling, and corrupt city. Before the war, these officers would have been standing in beautiful religious architecture. Their development from the murky shadows represents the post-war ruin and corruption of the once beautiful city of Vienna. This then cuts back to the approaching giant shadow, as it closes in on the intersection, signifying the end of anticipation. The next shot is of a policeman leaning in to whatchamacallit a view of to whom this shadow belongs.This quickly cuts to a picayune shot of Holly also leaning in to try and get a glimpse. The shot reinforces the suspense and anxiety, and moral dilemma Holly is experiencing while waiting to set up his friend. As the shadow makes the final steps before being revealed, the zither tone changes from the usual haunting strumming to a comical, upbeat, high-pitched progression. It is then revealed that this shadow is a simple balloon salesman. The sudden change in music completely rids all previous tension as the balloon trafficker makes his way around the corner.This shot symbolizes Reeds fantastic opthalmic language. All of the shots leading up to this leave the viewer with nothing but certainty that this approaching shadow will be Lime. We have tail him down before through his shadows so there is no conclude to believe that the camera is playing a hoax on us. The viewer undoubtedly trusts the visual storytelling, due to Reeds fantastic mental imagery and shots. Carol Reeds rapid crosscuts are a alone(predicate) tactic that delays the plot of the film, solely to shift all focus to the increase in tension.The quick, oddly angled shots bring the viewer into the elaborate set-up, pursual each police officer and Holly, along with their respective vantage points of the streets of Vienna as if we too are searching for Lime. This sequence proves to be brawny and suspenseful, as well as a direct reflection of Carol Reeds brilliance. He is able to intensify the suspense of the film significantly through his elaborate camera work, montage, lighting, mise en scene and sound. This short sequence proves to be a noteworthy piece in the cinematic world, and embodies the genre of film noir in just two minutes.