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10/7/12 The Third Guy Sequence Research In Jean Reed’s Another Man, the sequence where the police and the bait, Holly, anxiously wait for the arrival with their target, Harry, is full of uncertainty and displayed through above 25 shots in less than 3 minutes. The pattern captures the anxiousness and suspense skilled by all the characters through its quick cuts of empty pavements, destroyed complexes, and dark shadows. The score with this sequence greatly influences the mood and various thematic elements of the picture.

Through this practically silent (almost no dialogue) segment, Reed brings the viewers in the scene throughout the perspectives of numerous characters surveying the clear, quiet and dark city of Vienna intended for the man they are really trying to catch, Harry Lime scale. The 1st shot of the sequence can be described as fade-in with the cafe in which Holly is settling straight down while expecting Harry. The signature zither music covers again to point the suspense of patiently waiting to complete a set-up that will allow law enforcement to criminal arrest a criminal.

It then reductions to inside cafe where Holly anxiously sits and begins to seem outside the windowpane examining the ominous, vacant streets of Vienna. This kind of shot is known as a prime example of the unique askew camera positioning used through the entire film. In this shot, like many others, the frame is angled quite awkwardly. It embodies the creation of a dark, unusual and intense world in which noir motion pictures took place. Another shot takes us exterior with a long pan from left to right. This shot sets us in the perspective of Holly as he slowly scopes out a clear street.

This zoomed in pan effectively conveys Holly’s anxiety of Harry’s entrance, as he diligently searches the street for any indications of Harry. This cuts returning to Holly who is moving closer to the windows in order to get an improved look over the streets. Then the quick lower puts us back to Holly’s perspective with the street however again we come across a vacant, dark streets. However this shot remains to be and concentrates on the Vienna statuary. The next cut features a policeman hiding among these figurines. The juxtaposition of these two shots can be described as prime sort of Carol Reed’s montage and genius editing and enhancing choices.

Holly closely examines this milestone, which happens to be the police’s hideout. This allows the viewers to see the elaborate plan the authorities have created and become placed in the middle of it. Were unable to see the police in the viewpoint of the meetings area but once zoomed in we can see them hidden in the depths off the shadows produced by these large figurines and articles. The taken of the policeman hidden along the statue reductions quickly into a shot of your still, darker street. The perspective then changes to that of the policeman.

Another cut reveals another policeman, this time zoomed in in the face. This shot features much more mild on the policeman’s face. It is a close up taken from a lesser viewpoint. This allows us to know the different positionings and hiding spots of the police officers which can be waiting for capturing their focus on. This then cuts again to this policeman’s view of the street. This rapid crosscutting of direct shots juxtaposed with curved shots from the policemen and their vantage items, alongside the portentous playing of the zither creates a extremely ominous and suspenseful placing and feelings.

It spots the audience inside the set-up as if all of us too are silently and anxiously surveying the war-torn streets of Vienna for Harry Lime green. This reductions to a shot that display’s Reed’s indisputable element of lamps. A police officer is placed in the heart of the shape in profile. As he exhales, the low-key lighting covers the fog created simply by his nice breath. This cuts once again to the policeman’s vantage point down a dim street. This cuts to another taken of a cop with exclusive lighting. The lighting just allows the viewer to find the policeman’s nasal area and listed below.

His eye and temple are invisible by the shadow of his hat, till he techniques his eye. The lamps allows us to begin to see the whites of his eyes as they move from directly to left over the frame. Only seeing his eyes because they move force us to adhere to his eye and look in his vantage point that is seen in the next shot of an additional empty road. This slashes to a close up of another policeman’s encounter, where again the lighting picks up and reflects from the fog. This kind of quickly reduces to another clear street view, which then quickly cuts back to Holly.

This kind of shot of Holly remains to be angled awkwardly, only now we see Holly impatiently playing with his cup. The shot is very important because it once again shows us Holly’s fickle feelings for the situation he can in. Over the film he has had difficulty deciding on if to help the authorities bring in his friend Harry. This shot of Holly shows the internal debate he could be experiencing in the mere 3 seconds it is seen. All of us then cut back to the 1st police officer in the statuary. His shadow is usually beautifully solid on the line next to him and our your-eyes drawn to this.

We see his shadow approach as he realises something. This cuts to his advantage point of your street that is certainly finally no more empty. A huge shadow is definitely emerging together with a building. The threatening shadow stands two testimonies high. This creates a strong feeling of suspicion and dread, yielding a great expectation simply by viewers as well as the police which the shadow will probably be Harry. The sight of your humongous shadow approaching completely increases the uncertainty of the series. This reduces back to the policeman in what proves to become one of the most significant and well-filmed shots of the movie.

That cuts to the same officer who the actual first audio of the collection, a simple “pssst. This is to signal that Lime is usually approaching to someone under. The camera pans listed below the official, and zooms into a darker corner from the statuary covered by shadows. The lighting of this shot is incredible. As the shot zooms in to its nearest point, the lighting reveals the hiding Calloway and Paine because they merge in the shadowy absolute depths of the statuary. Not only are these claims shot remarkably lit, just about all displays the film’s mise-en-scene of data corruption.

The two dishonest officers will be standing beneath what was when beautiful spiritual statuary. Post-war Vienna is nothing like what was and is now a depressing, falling apart, and tainted city. Prior to the war, these types of officers may have been standing in beautiful religious architecture. Their very own emergence in the murky shadows represents the post-war destroy and corruption of the when beautiful associated with Vienna. This kind of then reduces back to the approaching huge shadow, mainly because it closes in on the area, signifying the end of anticipation. The next taken is of a policeman leaning in to catch a view of to whom this kind of shadow is supposed to be.

This quickly cuts to a short taken of Holly also bending in to try to get a view. The shot reinforces the suspense and anxiety, and moral issue Holly can be experiencing whilst waiting to create his friend. As the shadow the actual final actions before getting revealed, the zither strengthen changes in the usual haunting strumming into a comical, hopeful, high-pitched advancement. It is then simply revealed that this kind of shadow is a simple balloon jeweler. The immediate change in music completely rids all earlier tension since the balloon vender makes his approach around the corner.

This kind of shot symbolizes Reed’s great visual vocabulary. All of the photos leading up to this kind of leave the viewer with nothing but conviction that this approaching shadow will probably be Lime. We have chased him down ahead of through his shadows and so there is no purpose to believe the camera is playing a scam on all of us. The audience undoubtedly trusts the visual storytelling, due to Reed’s fantastic imagery and shots. Jean Reed’s fast crosscuts can be a unique technique that gaps the storyline of the film, solely to shift almost all focus to the increase in pressure.

The quick, oddly curved shots take the viewer in to the elaborate installation, following each police officer and Holly, along with their respective vantage points of the streets of Vienna as if we too are searching for Lime scale. This series proves being powerful and suspenseful, and a direct representation of Jean Reed’s elegance. He is able to heighten the suspense of the film significantly through his elaborate camera job, montage, lamps, mise en scene and sound. This kind of short collection proves to become a noteworthy part in the cinematic world, and embodies the genre of film noir-gris in just two minutes.

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