The Third Guy Sequence Analysis
In Carol Reed's The Third Man, the sequence in which the police and the bait, Holly, anxiously wait for the arrival of their target, Harry, is full of suspense and exhibited through more than 25 shots in less than 4 minutes. The sequence captures the anxiousness and suspense knowledgeable by every one of the characters through its speedy cuts of empty streets, destroyed complexes, and darker shadows. The score with this sequence greatly influences the mood and different thematic portions of the scene. Through this nearly noiseless (almost simply no dialogue) portion, Reed brings the viewers into the scene through the views of different personas surveying the empty, peaceful and dark city of Vienna for the person they are planning to capture, Harry Lime.
The 1st shot on this sequence can be described as fade-in from the cafГ© by which Holly is settling straight down while looking forward to Harry. The signature zither music accumulates again to point the incertidumbre of with patience waiting to complete a installation that will allow the police to detain a legal. It then slashes to within the cafГ© wherever Holly desperately sits and begins to look outside the window examining the ominous, clear streets of Vienna. This shot can be described as prime sort of the unique askew camera position used over the entire film. In this shot, like many others, the frame is angled quite awkwardly. It embodies the creation of the dark, peculiar and powerful world through which noir films took place. Another shot requires us outside with a lengthy pan via left to right. This shot puts us inside the perspective of Holly as he slowly scopes out an empty street. This zoomed in pan effectively conveys Holly's anxiety of Harry's entrance, as he attentively searches the street for any signs of Harry. This kind of cuts returning to Holly who will be moving nearer to the window in order to get a better look down the streets. Then the quick lower puts all of us back to Holly's perspective with the street yet again we see a vacant, dark street. However this...