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• W53610384 abstract "Since Graham Green wrote the story The Third Man as a first step towards the preparation of the film script one would expect the film to closely reflect the story. The major difference between the two is the figure of Colonel Calloway. The film presents him, from the outside, as a rather humorless, very British, very military man of principle whose only show of feelings is a mild protest to the Russian officer about taking Anna's passport. (Even his concern for the children who are the victims of the penicillin racket is something which he uses to persuade Martins to cooperate). Whereas the story presents him from the inside, as someone who has a keen personal interest in Martins and Anna and who is an intimate acquaintance of the reader. From the first page Calloway, the narrator, adopts a chatty familiarity with the reader: Rollo Martins believed in friendship, and that was why what happened later was a worse shock for him than it would have been for you or me (because you would have put it down to an illusion and me because at once a rational explanation-however wrongly-would have come to my mind). only he had come to tell me then, what a lot of trouble would have been saved. Calloway's narration continues throughout the story and it is largely through his eyes and words that we see and hear the events and characters. He also makes frequent observations to the reader about what is occurring. The film firmly abjures such an approach. Although there is an introductory voice-over, which sets the scene in Vienna and introduces us to Martins as he enters Vienna, this is not Calloway's voice but that of an anonymous storyteller and there is no more voice-over narration in the film. Reed and Greene clearly decided to make a film which allows the characters and events to speak for themselves, without mediation. The reason for this change is that the camera is able to take over Calloway's role as omniscient narrator. It would be impossible to convincingly portray on film an army officer whose interest in the characters gives him access to Martins's and Anna's most intimate thoughts, feelings, and conversations. In fact, it is Graham Greene's remarkable technical achievement in the story that manipulates subtle shifts of point of view and time-shifts in order to enable the reader's suspension of disbelief in Calloway's omniscience. As an illustration of Greene's skill, consider what follows after Martins is finally convinced by Calloway of Harry Lime's participation in the penicillin racket. Chapter 11 begins, After he left me, Martins went straight off to drink himself silly. Ostensibly, the narration continues in Calloway's voice but gradually we are given access to details to which Calloway could hardly be privy, such as the details of Martins's drunken thought processes. The point of view shifts subtly into Martins's consciousness and prepares us for direct access to the discussion between Martins and Anna on the night Martins first sees Harry Lime: By this time the spots were swimming in front of Martins's eyes, and he was oppressed by a sense of loneliness. His mind reverted to the girl in Dublin, and the one in Amsterdam. That was the thing that didn't fool you-the straight drink, the simple physical act: one didn't expect fidelity from a woman. The reader is even able to accept en passant judgments about human nature which could be those of Calloway or of an omniscient narrator: If you are in love yourself it never occurs to you that the girl doesn't know: you believe you have told it plainly in a tone of voice, the touch of a hand. The film does not need to suspend the viewer's disbelief about having detailed access to Anna's and Martins's intimate conversations because in the cinema the camera always has omniscient access. And while we could be given access to Martins's drunken thoughts by means of voice-over, this would clearly be intrusive in a film which has abstained from narrative voice-over. …" @default.
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• W53610384 date "1998-01-01" @default.
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• W53610384 title "The Third Man: Graham Green and Carol Reed" @default.
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