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How to Make an Entrance #10: Harry Lime in ‘The Third Man’

With a smirk as smug as they come, Harry Lime is revealed to be alive and Welles, and suddenly ‘The Third Man’ has taken quite the turn.

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There are innumerable critical choices involved in the production of a great film, but one of the most apparent (and important) is determining how an important character first appears. It can happen in a flash, or slowly build to a satisfying reveal, but however achieved, much of a movie’s success can hinge on these moments. Heroes, villains, and anyone in between; the first impression is often how we remember them for the rest of our lives, so filmmakers had better make it count. How to Make an Entrance hopes to celebrate some of the greatest film character entrances of all time by attempting to examine and explore why they work so well — and along the way, perhaps reintroduce readers to some classic cinema friends.

Harry Lime in The Third Man (1949)

An American writer comes to post-WWII Vienna, Austria at the request of an old college pal who has promised a job, only to discover that his friend has been killed by a reckless truck driver as he crossed the street. After poking his nose around this corrupt, shattered city, the American smells a rat — and boy, does he find one. The title of Carol Reed’s classic film noir refers to the mystery at the heart of the story: was there an unidentified witness at the scene of the fatal accident? And if so, what is he hiding? Well, it turns out there is a third man, but audiences probably weren’t expecting it to be the dead guy himself. With a smirk as smug as they come, Harry Lime is revealed to be alive and Welles, and suddenly The Third Man has taken quite the turn.

Up to this point in the story, Holly Martin (Joseph Cotten) has been wading through a twisted underworld of obstruction and lies. His attempts to discover the truth have led him in circles, but by now he has become disillusioned with what he thought he would find in Vienna. He has been asked to leave the city by the British police, nearly framed for a different murder, chased by a vigilante mob, and has discovered that his friend, Harry Lime, apparently had black market dealings that involved selling diluted penicillin to military hospitals, the results of which included patient deaths. This world is nothing like the romantic American western novels he writes; it’s a place devoid of morality.

Nevertheless, Holly is beginning to see the truth — to see straight. The Third Man is notorious for its use of Dutch angles, but note the level composition that starts out the clip above. After a visit with Harry’s ‘former’ girlfriend, Holly has made up his mind to leave Vienna, and if he is not at peace with the situation, he at least is no longer reeling. That is about to change. The cut to a shadowy doorway immediately disorients with a skewed perspective suggesting that perhaps the world is still more crooked than the American realizes.

The shot depicts a cat licking a concealed figure’s shoes; something is afoot. The director cloaks the doorway in darkness, implying that the person within feels more comfortable unexposed. At this point, however, Holly is used to deceit, and is not impressed. He believes he has a grasp on things, and so remains shot from a flat angle. Still, there’s something intriguing going on here, and he moves closer to get a better look, calling for the spy to reveal himself. Reed was now faced with the challenge of getting audiences to identify the enigmatic character before hearing his name (giving them the satisfaction of solving a mystery), despite them having never seen a photo or heard a description of who they were supposed to identify. Enter, the cat — a clever device that hints at Harry’s ambiguous loyalties, as well as his come-and-go nature. A closer view of the feline instantly clues in savvy viewers; it had left Anna’s apartment mere moments before just Holly did, and “only liked Harry.”

Before his face is even unmasked, we know exactly who stands there watching his old friend, but Reed isn’t done. A light from the window above illuminates the calm, cool, collected face of Orson Welles. There is no question that this infamous actor/director is the infamous Harry Lime. A wonderful push in tells us everything we need to know about the character: he may reside in the seedy Vienna underworld, be wanted by the police, and traverse the sewers like a rat, but he is still enterprising, still aloof, still arrogant — and a chilling, playful smile (especially after all we now know about his nefarious deeds) sends Holly spiraling once again.

Reed returns Holly to those infamous, uncomfortable angles as he staggers in pursuit of his friend (and the truth) with an unsettling closeup, followed by two slanted shots as a car nearly hits the stunned writer — perhaps a callback to the earlier ‘accident.’ Harry Lime has come back from the dead, and Holly’s grasp on reality has been shifted. Though this appearance lasts only mere seconds, it fills in a great many blanks about the opportunism and amorality at play in the city of Vienna not long after the ravages of war. A romantic becomes even more disillusioned, an already mysterious plot thickens, and a scoundrel elicits a tiny bit of admiration.

That’s how to make an entrance.

* For more articles in this series, click here

Patrick Murphy grew up in the hearty Midwest, where he spent many winter hours watching movies and playing video games while waiting for baseball season to start again. When not thinking of his next Nintendo post or writing screenplays to satisfy his film school training, he’s getting his cinema fix as the Editor of Sordid Cinema, Goomba Stomp's Film and TV section.

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‘Uncut Gems’ Sends Adam Sandler Through the Ringer

The Safdie Brothers have crafted a hectic, abrasive crime thriller that revels in its misery.

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Uncut Gems

The Safdie Brothers have followed up their grimy, abrasive Good Time with a film that never quite reaches those levels of tension, but is nevertheless cut from the same cloth. With Uncut Gems, the directing duo has crafted something so loud and chaotic — led by a perfectly-cast Adam Sandler — that there is no denying it’s a fun ride, even when it is not so fun to watch. Digging through the grit of loan sharks and a dog-eat-dog world, Uncut Gems is another bonafide hit by the Safdie brothers, but one that works when it piles on the misery — which it often does, rather than find a shred of happiness.

Evading debt collectors throughout New York City, Howard (Sandler) runs a jewelry shop in the Diamond District where he sells to many high-profile celebrities. When a new opal arrives at his shop from Ethiopia, he can’t help but show it off to Boston Celtics player Kevin Garnett (who stars as himself in a fun role that never feels out-of-place), who becomes obsessed with the rock and borrows it with the hope of eventually convincing Howard to let him buy it. Of course, Howard has other plans, as the rock is allegedly worth a million dollars if sold at an auction in which he has already purchased a spot. When Garnett doesn’t return the stone, everything starts going horribly awry in Howard’s life as he juggles a failing marriage, his Jewish family ties, and keeping the loan sharks at bay.

Right out of the gate, Daniel Lopatin (Oneohtrix Point Never) hits the ground hard with a score that carries the cosmic and reverberating effects of the titular uncut gems. When Garnett stares into the opal, he sees exactly what Howard tells him he’s supposed to see: the universe. In that, Lopatin provides a sonic scape so expansive and yet violently singular in its aesthetic that it provides much of Uncut Gems with a mystical aura. Drenched in gritty camerawork that gets up close to show the blemishes of everyone, there’s no denying the film’s mean and potent intensity.

Where Uncut Gems often stumbles is in its narrative threads. While the Garnett storyline weaves in and out, providing a lot of fun as well as hectic tension, it’s a piece of stunt casting that works, while also highlighting one that very clearly doesn’t involve R&B singer The Weekend. Why he is in the movie is baffling, other than perhaps because he evokes a further sense that Howard is in a very upscale world — something we already know by his clientele, multiple properties, and the wealth he actually wears. The Weekend ends up as a weird diversion that can take viewers out of the experience, even if his presence does lead to a further escalation in problems for Howard.

That all being said, Uncut Gems also brings Adam Sandler back into the fold as an actor who can do more than the drivel he has churned out over the decades. More evocative of his performance in Punch-Drunk Love than The Meyerowitz Stories, Sandler gives a comedic and sympathetic performance to a character for whom everything suddenly goes wrong. Living a manic, fast-paced lifestyle, Howard is impatient, aggressive, and greedy, but Sandler makes it possible to get on board with his plight at least partially (there is no way to be on his side completely). His vices are many, but the performance keeps him down to Earth even when it feels like everything is flying off the hinges.

There will likely be many that can’t get past how dirty this movie feels, as it treats many criminal activities as both simply the way things are and the way they always will be. Beyond that, however, the Safdie Brothers provide a nuanced look at Jewish culture, utilizing one of Hollywood’s most prolific Jewish actors, and treat it is as matter-of-fact. Uncut Gems is a frenetic crime film from a Jewish perspective and delivers on its promise of being a wild ride with a phenomenal Sandler performance. Just don’t expect there to be much hope present, as the Safdies revel in the misery as much as humanly possible, only using hope as a torture device to make the anguish all the more painful.

Editor’s Note: This article was originally published on September 14, 2019, as part of our coverage of the Toronto International Film Festival.

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The Best Movie Trailers of 2019

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Best Movie Trailers 2019

They exist to sell a product, but there’s also something about movie trailers that inspires certain ticket buyers to get to the theater early: the promise of movie magic. Before we have a chance to be disappointed by their final products, the best trailers are constructed to show off endless potential — the suggestion that audiences are in for an amazing cinematic treat. Of course, it doesn’t always work out that way, but there’s nothing better than being seduced — and for a few moments, that’s exactly what the best movie trailers of 2019 do. Below are some of my favorites from the past year.

Smarmy Murder

Knives Out

Rian Johnson’s followup to The Last Jedi seems to have found a safer home for the director’s irreverence (I’m not aware of any diehard murder-mystery fans, at least), and it’s trailers have been free to lean heavily into that twisted playfulness. If you’ve gone to a theater in the last three months, it’s been hard to avoid seeing this one a million times (including at times as an ad before the previews), but the relentlessly snappy pacing, ironic edits, and pervasive shots of actors hamming it up really drive home that Knives Out is looking to be a wickedly fun romp. Whether it succeeds or not, there’s no question that the trailer makes me want it to. 

Ready or Not

This one hits more traditional beats when it comes to unspooling its gleefully barbarous premise, and knows just how to mix the tension with the violence with the cheeky one-liners. But it’s the use of The Righteous Brothers’ “Unchained Melody” that really pushes this trailer over the top, as the song works brilliantly for both magnifying the drama during the screaming moments, and providing an excellent contrast between its blatant romantic sincerity and the sarcastic amorality of this bizarre predicament. Also, Henry Czerny.

The Hunt

This one’s a bit more subtle about its dark comedy, but there’s no question that there are plenty of smirks lurking just below the surface of this premise. A cabal of elitists hunting a bunch of backwoods yokels for sport is the kind of satiric setup that has potential for real bite (enough to get the film’s release indefinitely delayed, apparently), and this trailer does a great job of playing that element up, suggesting a more brutal and sardonic version of The Hunger Games. The tired look on Betty Gilpin’s face as she moseys down train tracks or calmly drives over someone’s head showcases a low-key humor that hopefully is reflected in the final product. Fingers crossed that The Hunt eventually sees the dark of theaters.

Moody, Mysterious Spooks

Midsommar

There’s always something refreshing about a horror story that takes place in the daylight, and the trailer for Midsommar appeals perfectly to this sentiment. Plucky strings, tribal drum beats, and plenty of off-kilter camera angles help set the creepy stage for a relationship problem that is about to manifest itself in a physical problem, but one that is smartly only hinted at. The bright, lush environment and comforting tradition initially draws you in (like any good cult would hope), but exactly what’s in store for this young woman and her companions? Flashes of gore and deformity near the end are what linger, even after a sunny visual finale. Very enticing.

The Lighthouse

It’s possible that this trailer could have just consisted of nothing but the weather-worn faces of Robert Pattinson and Willem Dafoe staring back at the audience, punctuated by the droning bellow of the fog horn, and that might have been enough to sell people on this thing. Of course, what follows is a stark, visual feast that also does a masterful job at dropping clues as to the possible supernatural mystery, but layering them in the potential madness. Dark, ominous trappings are slathered on as thick as the sea-faring accents, giving off an old-fashioned horror vibe. Despite a deep dislike for the actual film, I could watch this trailer forever, and dream of what else could have lurked out on that lonely island.

If Only They Lost the Song

1917

Bolstered by gorgeous images courtesy of the great Roger Deakins (whose sumptuous cinematography can only help no matter what it’s in), this trailer does a masterful job at communicating to audiences just what a nail-biter this WWI story promises to be. Starting out with an innocuous shot of two soldiers lazing beneath a tree, and ending with one of them dodging explosions, the tension is meticulously built step by step, gunshot by gunshot…until a sappy, tone-deaf song called “Wayfaring Stranger” cuts in halfway through and tries to ruin everything with hammy emotional telegraphing. It’s a curious choice, as the textured, frank visuals and dialogue don’t otherwise give off a manipulative vibe. Still, there is stirring power in that imagery, enough to make me want to see more. Just…save the song for the end credits, please.

What. The. Hell.

Bird Talk

It’s generally not desirable to feel even slightly repulsed after viewing a movie trailer, but I have to confess that the bizarre images here are cut together in a way that doesn’t quite agree with me. So why is it good? Because that seems to be exactly the sort of note Xawery Zulawski’s film is trying to hit, with its disorienting fish-eye lenswork and indecipherable depictions of what seems like general depravity, even if I can’t point to exactly why. Even the special effect for that weird flaming car looks wonky and nightmarish. Not every film has to be pleasant to work, and neither does a trailer; Bird Talk looks intense and intriguing and indecipherable, and that’s good enough for me.

Pleading For Attention (and Actually Getting It)

Joker

Every year there are trailers for movies that desperately want to be taken seriously as films, and I’m not sure there was a better example of that in 2019 than Joker. With its gritty, scum-on-the-lens look, an early burst of cruelty, and use of Jimmy Durante’s “Smile” to lay the irony on thick, there’s no question of this promo distancing the final product from traditional ‘comic book’ movies. There’s also no question that the trailer does a magnificent job at showcasing the film’s best element: a writhing, tortured, smirking, dancing, on-the-edge Joaqin Phoenix. While it’s debatable whether Joker itself ultimately deserved all the attention, putting Phoenix’s performance front and center in the trailer was the best way to get it.

The Cream of the Trailer Crop

Richard Jewell

This is a fantastic example of how to communicate an overall old-fashioned approach to sharp storytelling, yet break up the standard formula with well-timed asides. The premise and protagonist are firmly established through standard trailer character development, but it’s the interspersing of those chilling interrogation scenes that really drive the point home and solidify the character as supremely sympathetic. The soft piano notes are joined by a growing orchestra, the frequency of these inserts picks up as the blatant railroading intensifies, and by the time the crescendo hits, the trailer has told a story that we want to see a resolution to — and that subtle nod suggests it’s going to be a very, very satisfying one.

Once Upon a Time in Hollywood

Almost a mini-movie in itself, the trailer for Once Upon a Time in Hollywood spans the range of emotional beats found in the film it’s cut from, roughly (and impressively) in the same order, all while cementing the unmistakable tone of the film’s creator. What’s being sold here is exactly what audiences are going to get, and that’s a sprawling Hollywood epic filled with sharp dialogue, offbeat B-movie/TV show asides, and a undercurrent of a looming, horrific incident that will come to a head in the last reel. An aging cowboy, a loyal sidekick, a radiant princess, and a creepily smiling ogre are set in a neon fantasy land full of make believe, where dreams (and sometimes nightmares) come true. It’s a primer for a magical fairy tale, and also the most complete, all-encompassing, masterful trailer of the year.

***

Of course, these are just my picks for the best trailers of 2019 — what are yours?

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70 Best Movie Posters of 2019

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Best Movie Posters of 2019

Deciding the best movie posters is no easy task…

I remember when I was younger, I used to head to the video store and rent movies I’d never heard of based solely on the movie poster art. This was, of course, a different time— sure, the internet was a thing, but we didn’t have countless websites, not to mention social media platforms, promoting new movies online with news stories, movie stills, featurettes, teasers, trailers and so on. Not to say that sort of marketing didn’t exist in the past, because it did, but it wasn’t always in your face. For better or for worse, the internet changed the way studios market movies, but one thing that hasn’t changed is the use of a poster to help build excitement and anticipation for an upcoming film. Most posters continue to be an important marketing tool for filmmakers worldwide and so once again, we’ve decided to collect images of our favourite movie posters revealed over the past twelve months. If you checked out our list of the best movie posters of 2018, you’ll remember it included posters for indie gems, thrillers, horror movies, foreign language films, Hollywood blockbusters and everything in between. This year is no different, although it should be said that some marketing campaigns were so good, we’ve decided to include more than one poster for a few select films. Also worth noting, we didn’t include any fan-made poster art below. That out of the way, here are the best movie posters of 2019.

Click on any one of the images to enlarge the posters.

The Best Movie Posters of 2019

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