Trust Or Mistrust.
Reed’s impressive tricks on hiding the trump card right under your nose has old magic and familiar structure hidden in there. And even though this uncertain shady streets follows a typical cat and mouse chase, unfortunately there seems to be very little skin in the game on terms of narration. And despite of the fact that the storyline suggests the inseparable chemistry between the lead characters, there is very little romance among the antics. Plummeting downwards by an immense pressure of almost overstuffed material, Reed seems to be in some sort of hurry to catch up the next act. In order to do so, it achieves a ferocious pace but doesn’t quite glorifies the thrills and stakes of the circumstances.
The makers could have easily milked out more cinema by savoring the concept and slowing down the procedure for a better effect. Nevertheless these minor complications can easily be leapt over by a gripping thriller that it maps out on screen. Welles as the ultimate flip of the act, has unfortunately a one dimension side of his to portray, and yet with spooky expressive performance, he sticks the landing. Cotten as the leader that we all follow, the victim, the protagonist, has fairly much wider room to factor in along with Valli’s love angle.
No matter how thought provoking and absorbing Reed’s world is, it certainly is too mechanical to bubble up as a free spirit. There are too many strings tied for it to be independent of the traffic which at times holds it back; the semantics is the double edged sword, both productive and consuming. The donated blood and sweat of Reed pays off for his meticulous execution that still holds up after decades. The Third Man is the pre-war inquisitive concept that is held by an equally opposite competitive action.