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1949, the Third Man Carol Reed the Third Man (Le Troisième Homme), Grande-Bretagne 1949, 104 Minutes Carlo Mandolini

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1949, the Third Man Carol Reed the Third Man (Le Troisième Homme), Grande-Bretagne 1949, 104 Minutes Carlo Mandolini Document généré le 1 oct. 2021 10:54 Séquences La revue de cinéma 1949, The Third Man Carol Reed The Third Man (Le Troisième Homme), Grande-Bretagne 1949, 104 minutes Carlo Mandolini Cannes 50 ans Numéro 189-190, 1997 URI : https://id.erudit.org/iderudit/49336ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Mandolini, C. (1997). Compte rendu de [1949, The Third Man : carol Reed / The Third Man (Le Troisième Homme), Grande-Bretagne 1949, 104 minutes]. Séquences, (189-190), 20–20. Tous droits réservés © La revue Séquences Inc., 1997 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Cannes 1949 5° -'ans THE THIRD MAN Carol Reed n a dit quelques méchancetés sur The Third Man, qu'il ne valait s'élabore en effet selon une Palme d'or: The Third Man que pour l'apparition, stupéfiante, il est vrai, d'Orson Welles dans structure descendante. Du (Carol Reed) GB Ola nuit viennoise. On a aussi raconté que c'était Welles qui, en ciel, d'où provient le person­ vérité, avait réalisé l'essentiel du film... Il faut dire que la petite histoire veut nage de Joseph Cotten, ar­ Prix d'interprétation masculine: que ce dernier soit arrivé sur le plateau sans grande conviction, jusqu'au rivé à Vienne par avion - Edward G. Robinson pour moment où il se rendit compte du potentiel de la scène finale dans les qu'on le priera de reprendre House of Strangers de Joseph égouts. Alors les idées et suggestions de Welles se mirent à fuser de toutes à plusieurs reprises - jus­ L. Mankiewicz (USA) parts. qu'aux entrailles de la ville • (le système d'égouts où Prix d'interprétation féminine: se bouclera le récit), The Isa Miranda pour Au-delà des Third Man est un voyage grilles de René Clément (FR/IT) vers et dans la mort. La • somptueuse photographie Prix de la mise en scène: de Robert Krasker (pour la­ René Clément pour quelle il a remporté un Os­ Au-delà des grilles car) plonge Vienne, ville en ruine qui porte encore les balafres de la guerre, dans une atmosphère d'am­ biguïté et de morbidité. The Third Man est aussi un film où tout est constamment remis en question. À l'instar des personnages qui se cachent sous de fausses identités ou s'enferment dans le silence et les égouts, le spectateur ne sait jamais vraiment comment aborder le film. Entre comédie sentimentale, film noir et drame psychologique, The Third Man est toujours en avance sur son spectateur, le laissant parfois loin derrière, de sorte que celui-ci n'a d'autre choix que de se laisser emporter par les événements et de se faire entraîner de surprise en surprise. La poursuite finale, dans les égouts de la ville, devenue un classique de l'histoire du cinéma, est un pur chef-d'œuvre. Les Mais, en revoyant The Third Man aujourd'hui, on se rend bien compte voix des soldats et policiers retentissent dans les tunnels comme autant de à quel point tout le film est traversé par un certain état de grâce! La mise cris d'outre-tombe provenant des victimes de Harry Lime. Ces voix, en fait en scène de Reed est toujours précise et juste. Voyez aussi avec quelle ses remords, lui annoncent son imminente descente aux enfers. Géature cadence le film s'élance, dès les premières minutes, dans ce labyrinthe cau­ des bas-fonds et véritable vampire, Harry se fait justement abattre au chemardesque où l'esthétique du film noir est portée vers de nouvelles moment où il est sur le point de remonter à la surface, vers la lumière... directions. En plus de reprendre les conventions du genre (les bas-fonds, le CM. noir et blanc oppressant, l'enquête, la femme fatale, le héros trouble, etc.), le film joue continuellement sur le principe de la déconstruction. Avec ironie et une forte dose de cynisme, Reed dénature le genre en y intégrant THE THIRD MAN (Le Troisième Homme) Grande-Bretagne 1949, 104 minutes. Réal.: Carol Reed — Scén.: Carol Reed, Graham Greene, une foule d'éléments que l'on retrouve non sans surprise dans un film noir, d'après le roman de ce dernier — Photo: Robert Krasker — Mont.: Oswald Hafenrichter — Mus.: à commencer par cet air de cithare d'Anton Karas. Anton Karas — Int.: Joseph Cotten (Holly Martins), AlidaValli (Anna Schmidt), Orson Welles (Harry Construit autour d'un personnage qui perd complètement le fil de son Lime), Trevor Howard (Ie major Calloway), Bernard Lee (le sergent Paine), Ernst Deutsch (le baron Kurtz), Wilfrid Hyde-White (Crabbin) — Prod.: Alexander Korda/London Film Productions. enquête, le film s'engouffre dans un précipice sans fond. The Third Man 2(1 Séquences .
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