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| | The Third Man |
 | | The Third Man perfectly illustrates the world it narrates: a post-war, amoral, crossroads checkered Vienna, that is divided into international quadrants administered by the Russians, Americans, British, and French, and populated by a cast of deviant entrepreneurs, racketeers, spies and soldiers eager to prioritise material wealth over ethical principle. |
 | | Nevertheless, a major irony hovering over The Third Man relates to two men who never walked on the set but who can be considered its most important influences, their names rarely mentioned in the annals of cinephiles. |
 | | The Third Man’s two most memorable scenes have his fingerprints all over them: the Ferris wheel scene, where Lime confronts Martins and justifies his illegal actions, and the film’s conclusive chase scene through Vienna’s sewer system, where Lime navigates through a labyrinth of sewer canals and escape routes underneath Vienna and its bravura architecture. |
| www.sensesofcinema.com /contents/cteq/06/38/third_man.html (1874 words) |
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