Editing The Third Man (section)

==Production==

===Development===
Before writing the screenplay, Graham Greene worked out the atmosphere, characterisation, and mood of the story by writing a novella as a [[film treatment]]. He never intended for it to be read by the general public, although it was later published under the same name as the film. The novella is narrated in the first person from Calloway's perspective. In 1948, Greene met [[Elizabeth Varley|Elizabeth Montagu]] in Vienna; she gave him tours of the city, its sewers, and some of its less reputable nightclubs. She also introduced Greene to [[Peter Smollett|Peter Smolka]], the central European correspondent for ''The Times'', who gave Greene stories about the black market in Vienna.<ref>{{cite journal |journal=The Guardian |date=10 July 1999 |title=Harry in the shadow |url=https://www.theguardian.com/books/1999/jul/10/books.guardianreview10 |access-date=23 December 2015}}</ref>

During the shooting of the film, the final scene was the subject of a dispute between producer [[David O. Selznick]] and Reed. While Selznick preferred the hopeful ending of the novella, with Martins and Anna walking away arm-in-arm, Reed refused to end the film on what he felt was an artificially happy note.<ref>{{cite book|title=Encountering Directors|first=Charles Thomas|last=Samuels|publisher=G. P. Putnam's Sons|year=1974|pages=169–170|isbn=0399110232}}</ref> 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."<ref>{{cite web|url=https://www.nytimes.com/books/00/02/20/specials/greene-astory.html |title='The Third Man' as a Story and a Film |work=[[The New York Times]] |date=19 March 1950 |access-date=2 September 2013}}</ref> Selznick's contribution, according to himself, was mainly enlisting Cotten and Welles and producing the shortened US version.<ref>{{cite book |last=Haver |first=Ronald |title=David O. Selznick's Hollywood |publisher=[[Alfred A. Knopf]] |date=12 October 1980 |isbn=978-0-394-42595-5}}</ref>

Through the years there was occasional speculation that Welles was the ''de facto'' director of ''The Third Man'' rather than Reed. [[Jonathan Rosenbaum]]'s 2007 book ''Discovering Orson Welles'' calls this a "popular misconception",<ref>Rosenbaum, Jonathan, ''Discovering Orson Welles'', University of California Press; 1st edition (2 May 2007), p.25 {{ISBN|0-520-25123-7}}</ref> although Rosenbaum did note that the film "began to echo the Wellesian theme of betrayed male friendship and certain related ideas from ''[[Citizen Kane]]''."<ref name=rosenweb>Rosenbaum, Jonathan. [http://www.jonathanrosenbaum.net/?p=6466 ''Welles in the Limelight''] ''JonathanRosenbaum.net'' n.p. 30 July 1999. Web. 18 October 2010.</ref> Rosenbaum writes that Welles "didn't direct anything in the picture; the basics of his shooting and editing style, its music and meaning, are plainly absent. Yet old myths die hard, and some viewers persist in believing otherwise."<ref name=rosenweb/> Welles himself fuelled this theory in a 1958 interview, in which he said "entirely wrote the role" of the Harry Lime character and that he'd had an unspecified role in making the film—more than the contribution he made to ''[[Journey into Fear (1943 film)|Journey into Fear]]''—but that it was a "delicate matter" he did not want to discuss because he wasn't the film's producer.<ref>Welles, Orson; Epstein, Mark W. ''Orson Welles: Interviews''. Mississippi: University Press of Mississippi, 2002. Print.</ref> However, in a 1967 interview with [[Peter Bogdanovich]], Welles said that his involvement was minimal: "It was Carol's picture".<ref>Bogdanovich, Peter, ''This Is Orson Welles'', Da Capo Press (21 March 1998) p. 220, {{ISBN|978-0-306-80834-0}}</ref> Welles did contribute some of the film's best-known dialogue. Bogdanovich also stated in the introduction to the DVD: 
<blockquote>However, I think it's important to note that the look of ''The Third Man''—and, in fact, the whole film—would be unthinkable without ''[[Citizen Kane]]'', ''[[The Stranger (1946 film)|The Stranger]]'' and ''[[The Lady from Shanghai]]'', all of which Orson made in the '40s, and all of which preceded ''The Third Man''. Carol Reed, I think, was definitely influenced by Orson Welles, the director, from the films he had made.<ref>Janus Films. ''The Janus Films Director Introduction Series presents Peter Bogdanovich on Carol Reed's'' The Third Man.</ref></blockquote>

===Principal photography===
Six weeks of principal photography were shot on location in Vienna, ending on 11 December 1948.<ref>[http://www.spectator.co.uk/print/the-magazine/features/3521266/i-half-expected-to-see-welles-run-towards-me.thtml I half expected to see Welles run towards me]{{dead link|date=December 2017|bot=InternetArchiveBot|fix-attempted=yes}}, a 7 April 2009 article from ''[[The Spectator]]''</ref> Some use was made of the [[Sievering Studios]] facilities in the city.<ref>Drazin, Charles. ''Korda: Britain's Movie Mogul''. I. B. Tauris, 2011. p. 320.</ref> Production then moved to [[Worton Hall Studios]] in [[Isleworth]]<ref>[http://ftvdb.bfi.org.uk/sift/organisation/38034?view=credit Worton Hall Studios] {{Webarchive|url=https://web.archive.org/web/20090902212448/http://ftvdb.bfi.org.uk/sift/organisation/38034?view=credit |date=2 September 2009 }} from a [[British Film Institute]] website</ref> and [[Shepperton Studios]] in Surrey and was completed in March 1949.<ref name="ccbehind">{{cite book |last=Drazin |first=Charles |url=https://www.criterion.com/current/posts/1020 |title=Carol Reed's ''The Third Man'' |date=21 May 2007 |publisher=[[Criterion Collection]] |section=Behind ''The Third Man'' |access-date=11 January 2024}}</ref> Thomas Riegler emphasises the opportunities for Cold War espionage that the Vienna locations made available, and notes that "the audio engineer Jack Davies noticed at least one mysterious person on the set."<ref>{{Cite journal|last=Riegler|date=2020|title=The Spy Story Behind The Third Man|url=https://www.jstor.org/stable/10.5325/jaustamerhist.4.0001|journal=Journal of Austrian-American History|volume=4|pages=1–37|doi=10.5325/jaustamerhist.4.0001|jstor=10.5325/jaustamerhist.4.0001|s2cid=226400749}}</ref>

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.<ref name="Documentary">{{cite web|url=https://www.bbc.co.uk/bbcfour/documentaries/features/shadowing-third-man.shtml|title=Shadowing the Third Man|publisher=[[BBC Four]]|work=documentary|date=December 2007|url-status=dead|archive-url=https://web.archive.org/web/20080420120218/http://www.bbc.co.uk/bbcfour/documentaries/features/shadowing-third-man.shtml|archive-date=20 April 2008}}</ref> However, Reed claimed that, despite initial reluctance, Welles quickly became enthusiastic and stayed in Vienna to finish the film.<ref>Noble, Peter. ''The Fabulous Orson Welles''. Hutchison, 1956.</ref>

According to the 2015 recollection of assistant director [[Guy Hamilton]], Greene and Reed worked very well together but Welles "generally annoyed everyone on the set". His temporary absence forced Hamilton to step in as a body double, and 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.<ref name=FT>{{cite news | last = Aspden| first = Peter| title = Sewers, zithers and cuckoo clocks| newspaper = Financial Times| pages = Arts 16 | date = 13<!--/14--> June 2015| url = https://www.ft.com/content/e1adc13c-0e8c-11e5-9ae0-00144feabdc0 }}</ref>

Reed had four different camera units shooting around Vienna for the duration of the production. He worked around the clock, using [[Amphetamine|Benzedrine]] to stay awake.<ref>{{cite web |last=Feehan |first=Deirdre |url=http://sensesofcinema.com/2003/great-directors/reed/ |title=Senses of Cinema – Carol Reed |publisher=Sensesofcinema.com |access-date=2 September 2013 |archive-url=https://web.archive.org/web/20130604003559/http://sensesofcinema.com/2003/great-directors/reed/ |archive-date=4 June 2013 |url-status=dead }}</ref>

==="Cuckoo clock" speech===
In a famous scene, Lime meets Martins on the [[Wiener Riesenrad]] in the [[Leopoldstadt|Prater]] amusement park. Looking down on the people below from his vantage point, Lime compares them to dots, and says that it would be insignificant if one of them or a few of them "stopped moving, forever". Back on the ground, he notes:

<blockquote>You know what the fellow said—in Italy, for 30 years under the [[House of Borgia|Borgias]], they had warfare, terror, murder and bloodshed; but they produced [[Michelangelo]], [[Leonardo da Vinci]] and the [[Renaissance]]. In Switzerland, they had brotherly love; they had 500 years of democracy and peace—and what did that produce? The [[cuckoo clock]]!</blockquote>

According to scriptwriter Graham Greene, "the popular line of dialogue concerning Swiss cuckoo clocks was written into the script by Mr Welles himself" (in the published script, it is in a footnote).<ref>{{Cite book |last=Greene |first=Graham |title=The Third Man |publisher=Penguin |year=1950 |isbn=0140286829 |location=Harmonsworth |pages=9}}</ref> Greene wrote in a letter that "What happened was that during the shooting of ''The Third Man'' it was found necessary for the timing to insert another sentence."<ref>13 October 1977</ref> Welles apparently said the lines came from "an old Hungarian play"—in any event the idea is not original to Welles, as acknowledged by the phrase "what the fellow said". The likeliest source is the painter [[James Abbott McNeill Whistler]]; in an 1885 lecture published in ''Mr Whistler's "Ten O'Clock{{"-}}'' in 1888, he said that "The Swiss in their mountains&nbsp;... What more worthy people!&nbsp;... yet, the perverse and scornful [goddess, Art] will have none of it, and the sons of patriots are left with the clock that turns the mill, and the sudden cuckoo, with difficulty restrained in its box! For this was [[William Tell|Tell]] a hero! For this did [[Albrecht Gessler|Gessler]] die!" In a 1916 reminiscence, American painter [[Theodore Wores]] said that he "tried to get an acknowledgment from Whistler that San Francisco would some day become a great art center on account of our climatic, scenic and other advantages. 'But environment does not lead to a production of art,' Whistler retorted. 'Consider Switzerland. There the people have everything in the form of natural advantages—mountains, valleys and blue sky. And what have they produced? The cuckoo clock!"<ref>''San Francisco Town Talk'', 26 February 1916, reported in [https://archive.org/stream/californiaartres10hail#page/n255/mode/2up ''California Art Research'': Charles J. Dickman, Xavier Martinez, Charles R. Peters, Theodore Wores, 1936].</ref>

Welles also may have been influenced by [[Geoffrey Household]], who wrote in his 1939 novel ''[[Rogue Male (novel)|Rogue Male]]'': "...Swiss. A people, my dear fellow, of quite extraordinary stupidity and immorality. A combination which only a long experience of democratic government could have produced."{{Citation needed|date=August 2024}}

''This Is Orson Welles'' (1993) quotes Welles: "When the picture came out, the Swiss very nicely pointed out to me that they've never made any cuckoo clocks,"<ref>Nigel Rees, ''Brewer's Famous Quotations'', Sterling, 2006, pp. 485–86.</ref> as cuckoo clocks were actually invented in the German [[Black Forest]]. Writer [[John McPhee]] pointed out that when the Borgias flourished in Italy, Switzerland had "the most powerful and feared military force in Europe" and was not the neutral country it later became.<ref>[[John McPhee|McPhee, John]]. ''La Place de la Concorde Suisse''. New York, Noonday Press ([[Farrar, Straus and Giroux]]), 1984. McPhee is quoting "The Swiss at War" by Douglas Miller.</ref>

===Music===
{{Quote box|quote= What sort of music it is, whether jaunty or sad, fierce or provoking, it would be hard to reckon; but under its enthrallment, the camera comes into play&nbsp;... The unseen zither-player&nbsp;... is made to employ his instrument much as the Homeric bard did his lyre.|source = William Whitebait, ''[[New Statesman and Nation]]'' (1949)<ref>Quoted in "Round Town with Herb Rau: In A Dither Over The Zither", ''The Miami News'' 20 January 1950 [https://news.google.com/newspapers?id=XDs0AAAAIBAJ&sjid=cOsFAAAAIBAJ&pg=4735,2628537&dq=under-its-enthrallment&hl=en] {{Webarchive|url=https://web.archive.org/web/20150908133323/https://news.google.com/newspapers?id=XDs0AAAAIBAJ&sjid=cOsFAAAAIBAJ&pg=4735,2628537&dq=under-its-enthrallment&hl=en |date=8 September 2015 }}</ref> |align = right|width = 30em|border = 1px|salign = right}}
[[Zither]] player [[Anton Karas]] composed and performed the film's score. Before the production came to Vienna, Karas was an unknown performer in local [[Heuriger|''Heurigers'']].  According to ''[[Time (magazine)|Time]]'': "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."<ref name="time1949">{{cite magazine| url=http://www.time.com/time/magazine/article/0,9171,856412,00.html| title=Zither Dither| magazine=Time| date=28 November 1949| access-date=15 August 2009| archive-date=24 July 2008| archive-url=https://web.archive.org/web/20080724201123/http://www.time.com/time/magazine/article/0,9171,856412,00.html| url-status=dead}}</ref>

According to Guy Hamilton, Reed met Karas by coincidence at a party in Vienna, where he was playing the zither.<ref name="FT"/> Reed brought Karas to London, where the musician worked with Reed on the score for six weeks.<ref name="time1949"/> Karas stayed at Reed's house during that time.<ref name="FT"/> The American film critic [[Roger Ebert]] later asked: "Has there ever been a film where the music more perfectly suited the action than in Carol Reed's ''The Third Man''?"<ref>[https://www.rogerebert.com/reviews/great-movie-the-third-man-1949 ''The Third Man'' review], [[Roger Ebert]], 8 December 1996</ref>

Additional music for the film was written by the Australian-born composer [[Hubert Clifford]] under the pseudonym of Michael Sarsfield. From 1944 until 1950 Clifford was Musical Director for Korda at [[London Film Productions]], where he chose the composers and conducted the scores for films, as well as composing many original scores of his own.<ref name=MT>[https://www.jstor.org/stable/936984 Hubert Clifford obituary, ''Musical Times'', October 1959, p 546]</ref> An extract from his ''Third Man'' music, ''The Casanova Melody'', was orchestrated by Rodney Newton in 2000.<ref>[http://www.musicweb-international.com/classrev/2003/Mar03/Bainton_Clifford.htm ''Clifford/Bainton Vol.2'', Chandos CD 10019 (2003), reviewed at MusicWeb International]</ref>

===Differences between releases===
As the original British release begins, the voice of director [[Carol Reed]] (uncredited) describes post-war Vienna from a racketeer's point of view. The version shown in American cinemas cut eleven minutes of footage<ref name=imdb>{{IMDb title|id=041959|title=The Third Man}}</ref><!-- also confirmed in the Criterion DVD documentary --> and replaced Reed's voice-over with narration by Cotten as Holly Martins. Selznick instituted the replacement narration because he did not think American audiences would relate to the seedy tone of the original.<ref>Drazin, Charles: "In Search of the Third Man", page 36. Limelight Editions, 1999</ref> Today, Reed's original version appears on American DVDs, in showings on [[Turner Classic Movies]], and in U.S. cinema releases with the eleven minutes of footage restored, including a shot of a near-topless dancer that would have violated the [[Hays Code]]. Both [[the Criterion Collection]] and [[StudioCanal]] DVD releases of the film include both opening monologues.

A restored version of the film was released in the United Kingdom on 26 June 2015.<ref name="FT"/>

In September 2024, [[StudioCanal]] released a 4K restoration of the film to celebrate its 75th anniversary. It had a short run in UK cinemas and was later released on 4K Blu-ray.