The Third Man Brought the Vampire to Noir

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The Third Man Brought the Vampire to Noir
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The Third Man is the perfect film to bridge between Halloween and Noirvember, says kathymchacon, because the Orson Welles noir is, sneakily, a vampire movie

Vampires have taken many forms in contemporary culture: A cape-wearing, child-friendly Muppet; a telepathic high school student with sparkly skin; a quiet Iranian girl who walks home alone at night. Although vampire figures have existed in cultures all over the globe for almost as long as human beings have been around, our modern understanding of the classic monster is largely informed by the folklore of plague-ridden Eastern European communities during the 18th century.

After spending time on location in Vienna researching the city’s heavy military presence, Greene would merge his original idea with tales of true crime to create the story of Holly Martins , a man “born to be murdered.”, Martins is an impecunious pulp novelist who arrives in Vienna to accept a job offer from his childhood classmate Harry Lime .

When Harry first emerges on the fairgrounds, he is depicted in an extreme wide shot with considerable distance from the camera. Physically, he isn’t the giant monster we met just nights before. Here, he’s a small blur on the screen, a weak, insignificant figure. As the two men mount the Ferris wheel, Reed opts for a Dutch angle, a motif he’s already used extensively throughout the film to establish Holly’s incoordination and confusion with his newfound setting.

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