The screenplay for the iconic film noir masterpiece, The Third Man, is officially credited to Graham Greene. However, the story of its creation is far more complex, involving significant contributions from director Carol Reed and producer David O. Selznick, blurring the lines of authorship and sparking decades of debate.
The Official Story: Graham Greene’s Contribution
While the on-screen credit undeniably belongs to Graham Greene, his role extended beyond simply typing out the script. Greene conceived the initial story as a “treatment,” a short novella intended as a springboard for the film. This narrative backbone, encompassing the characters, plot, and atmosphere, is undeniably Greene’s. He then adapted this treatment into a screenplay, working closely with Carol Reed. Greene’s signature style – a blend of intrigue, moral ambiguity, and a captivating sense of place – is unmistakable throughout the film. His familiarity with Vienna, stemming from his work with British Intelligence, undoubtedly informed the setting and its inhabitants. The dialogue, often witty and laced with cynicism, also bears his hallmark.
However, the script we see on screen is not solely Greene’s creation. It’s a product of collaboration and, at times, conflict.
The Unseen Hand: Carol Reed’s Directorial Influence
Carol Reed, the director, played a crucial role in shaping the final screenplay. He wasn’t just a passive interpreter of Greene’s words. Reed actively participated in the writing process, suggesting changes, refining dialogue, and even altering the ending. This collaborative approach, though sometimes contentious, ultimately enriched the film. Reed’s visual storytelling expertise, combined with Greene’s narrative prowess, created a powerful synergy. It’s been argued that Reed’s contributions were so significant that he should have received co-writing credit, but such an acknowledgement never materialized. He skillfully translated Greene’s literary vision into a cinematic masterpiece, adding his own layer of artistry through visual cues and pacing.
Selznick’s Studio Interference: A Producer’s Perspective
The presence of David O. Selznick, the film’s producer, further complicates the authorship question. Selznick, known for his meticulous and often intrusive involvement in his productions (most famously, Gone With the Wind), had strong opinions about the script. He famously requested changes, often deemed unnecessary or detrimental by Greene and Reed. These demands, while sometimes resisted, inevitably influenced the final product. Selznick’s focus on commercial appeal sometimes clashed with Greene’s more nuanced and morally complex approach. While his edits may have polished certain aspects of the script for a wider audience, they also arguably diluted some of its original artistic integrity.
Deconstructing the Credits: Collaborative Authorship
The truth is, assigning sole authorship to a film, especially one as intricate and layered as The Third Man, is often an oversimplification. The final screenplay is a result of a collaborative process, where the writer, director, and producer all contribute, sometimes in harmony and sometimes in conflict. While Greene provided the foundational story and initial screenplay, Reed and Selznick left their indelible marks on the final product. Therefore, acknowledging the complex interplay of these three individuals is crucial for understanding the true authorship of The Third Man.
The Importance of Context: Post-War Vienna
Understanding the historical context of post-war Vienna is crucial to appreciating the brilliance of the script. The film captures the atmosphere of paranoia, desperation, and moral decay that permeated the city under Allied occupation. Greene’s script masterfully conveys this atmosphere, and Reed’s direction enhances it, creating a truly immersive and unforgettable cinematic experience. The black market, the bureaucratic corruption, and the sense of constant surveillance are all integral to the story and contribute to its enduring appeal. The location became an additional, powerful character within the narrative.
FAQs About The Third Man Script
Here are some frequently asked questions to further illuminate the complexities surrounding the screenplay for The Third Man:
Was the “treatment” Greene wrote ever published separately?
Yes, the “treatment,” essentially a short novella, was published separately under the title “The Third Man” both before and after the film’s release. It offers a fascinating glimpse into Greene’s initial vision for the story.
What were some of Selznick’s most controversial script suggestions?
Selznick reportedly wanted to give Holly Martins a love interest and provide a more traditionally “Hollywood” happy ending. These suggestions were largely resisted by Greene and Reed, who felt they would compromise the film’s gritty realism and moral ambiguity.
Did Greene and Reed get along during the writing process?
Their relationship was reportedly complex. While they respected each other’s talents, they also clashed at times, particularly over Selznick’s interference. However, their disagreements ultimately contributed to a richer and more nuanced film.
Is there a definitive version of the screenplay available to read?
Multiple versions of the screenplay exist, reflecting the various stages of development and the different contributions of Greene, Reed, and Selznick. These versions often differ in minor details and dialogue.
How much research did Greene conduct on post-war Vienna?
Greene had pre-existing knowledge of Vienna through his work with British Intelligence, but he also conducted further research to ensure the authenticity of the setting and its characters.
What makes Greene’s dialogue so distinctive in The Third Man?
Greene’s dialogue is characterized by its wit, cynicism, and subtle moral ambiguity. It often reveals more about the characters than they explicitly say. His writing style leans towards a minimalist approach.
Was Orson Welles involved in writing any of his own lines as Harry Lime?
While Orson Welles wasn’t officially credited as a writer, it’s widely believed that he improvised some of his dialogue, particularly his famous “cuckoo clock” speech. This added to the character’s memorability.
Did Greene ever publicly comment on the extent of Reed’s contribution to the script?
Greene acknowledged Reed’s significant contribution but maintained that the core story and characters were his creation. He valued Reed’s directorial input and considered him a crucial collaborator.
How does the film’s ending differ from Greene’s original “treatment”?
The film’s ending, with Holly Martins watching Anna Schmidt walk past him, is more ambiguous and melancholic than the ending Greene initially envisioned in his treatment. This change was largely due to Reed’s influence.
What is the significance of the zither music in The Third Man?
The zither music, composed and performed by Anton Karas, is integral to the film’s atmosphere. It evokes a sense of mystery, suspense, and even romance, perfectly complementing the visuals and dialogue. The music creates an unsettling but compelling mood.
How did The Third Man influence subsequent film noir productions?
The Third Man established many of the conventions of film noir, including its atmospheric cinematography, morally ambiguous characters, and cynical worldview. It remains a highly influential film for aspiring filmmakers.
Where can I find more information about the making of The Third Man?
Numerous books, documentaries, and articles have been written about The Third Man. Searching for biographies of Graham Greene, Carol Reed, and David O. Selznick can provide additional insights into the film’s creation. Reading reviews and scholarly analyses of the film are also beneficial.