《第三人》观影有感:【05】《第三个人》——详解50部黑色电影

来源:互联网作者:隔壁小王965关注

by Bruce EderBy some reckoning, Anton Karas was the quintessential one-hit wonder, a man associated the world over with one song, and one song only,The Third Man Theme(also known asThe Harry Lime Theme. ) Few musicians, however, ever did more to insinuate the sound of a single, relatively obscure musical instrument on the consciousness of the world -- Karas and theThird Man Themedid for the zither what George Harrison and a handful of Beatles tunes did for the sitar, only in a much bigger way, selling many millions of copies. That piece of music turned Karas into a wealthy man after 28 years of toiling in obscurity in relative poverty in Vienna.Karas was born in Vienna in 1906, the son of an automobile worker. He began playing the zither -- a stringed instrument vaguely similar to an autoharp -- at age 12. By 1921, at age 15, he was earning a living of sorts entertaining patrons for tips in Viennas taverns. Karas remained in the city throughout the tumultuous years of the rise of Nazi sympathies and the German takeover, the war, and the Allied occupation that followed. He supported a wife and three children on as little as $15 a week in those days, and then, in September of 1948 (some sources say the spring of 1949) fate took a hand.British director Carol Reed was in Vienna shooting a thriller called The Third Man, based on a story by Graham Greene. Most of the details of the final film had been worked out, but not the music -- Reed had decided that there would not be any Johann Strauss waltzes, but not what would be used for the score. One night, he was passing by a Heuriger, a wine tavern where growers offer their own wines for sale directly, and heard Karas playing in the background. Reed had never heard a zither before and found the sound to be attractive. He approached Karas and persuaded him to play for him at his hotel, where he made a recording and brought back to the studio to test. He liked the effect when the zithers sound was placed against the recorded dialogue and, ignoring the protests of many around him, hired Karas and brought him to London for 12 weeks. It wasnt always a harmonious time in London, as Karas, who had never traveled outside of Austria before, quickly grew homesick. Reed (in whose home Karas stayed -- with Reeds wife Penelope translating German and English between them) promised to let him return home after the score was completed. Karas screened the movie hundreds of times, devising music for each scene. The Third Man ended up with a vast amount of music, scored in virtually every scene of its 104 minutes. Ironically, the piece that became known as theThird Man Themewas something that Karas had written two decades earlier and hadnt played in over 15 years. As he later explained to Reed, playing the zither for a whole night for tips was hard work, and one tended to play the easiest pieces the most often, to save the fingers. The movie put Karas score into the foreground as much as any of the actors. The opening credits showed the strings of a zither in close-up, and the instrument was heard somewhere in virtually every scene, often as prominently as the dialogue. TheThird Man Theme(also known as theHarry Lime Theme ) was alternately brittle, jaunty, bittersweet, romantic, wry, and even sardonic piece of music -- which fit the mood of the story and the film perfectly -- that, once heard, couldnt be forgotten.The Third Man was finished and prepared for release, and Reed and the production company, London Films, tried to raise interest in it through the music. None of the record companies, however, was interested in recording Karas or releasing theThird Man Theme.The music was too strange and different, and although British movies had produced some soundtrack successes in the past, those were usually more conventional light classical pieces, such as Richard Addinsells Rachmaninov-likeWarsaw Concerto,not a jangly piece of music played on a central European folk instrument. Finally, the movie opened in late 1949 in England, and within days requests started to be heard at record stores. Word quickly filtered back up the line to the record companies, and Englands Decca label (London Records in the U.S.) cut the single, and then an accompanying LP, the jacket of which used the black silhouette of the mysterious Harry Lime (the Orson Welles character associated with the theme) against a red background. The single sold a half-million copies in its first month of release, an astonishing number in postwar England, and became a number one hit in England and later in America, where the movie didnt open until 1950. At least 13 cover versions appeared, recorded on everything from guitars to organ, and sheet music sales, transcribed for either piano or guitar, were huge as well. Karas, whod returned to Vienna immediately after seeing the movie at its opening in London, didnt know about these s for several weeks -- he was back at his old place, playing for tips. Then the messages began coming in, from the films production company, music publishers, and finally the Royal Family, with invited him back to London for a command performance. Bookings for performances in England followed and, with the help of the Selznick Organization, which distributed the movie in the United States, he came to America. Karas recorded a several follow-ups toThe Third Man Theme,and even wrote aKarol Themein tribute to Carol Reed, but none took off in the same way. He was able to retire from performing for a living, however -- by the early 50s, hed bought his own Heuriger, namedThe Winehouse at the Sign of the Third Manand only played and recorded for pleasure after that. In his performances, audiences were often puzzled by the fact that he savedThe Third Man Themefor last, preferring to play Viennese folk songs and popular standards (evenIn the Mood ) and then proceeded on some occasions to finish with the hit, playing 30 minutes of variations onThe Third Man Theme.Other zither players never got it to sound just right. The truth was that as recorded for the movie,The Third Man Themewas one of the first practical examples of overdubbing on a hit record, rivaling Les Pauls work -- Karas had gotten just the right effect working underneath Reeds kitchen table, and had gotten the piece just right by recording and mixing more than one zither part. Karas later re-recorded the theme several times, and it was also covered by instrumental acts such as the Shadows. Meanwhile, hed started a zither craze -- not only did he get to cut several albums during the early 50s, but suddenly there was serious international demand for zither music. One musician, Ruth Welcome, recorded at least a half-dozen LPs of the instrument in the United States. And even Edward D. Wood, Jr., the renowned bargain basement auteur, was inspired by Karas theme. He wanted to use a zither as the source of background music for his 1954 crime-drama Jail Bait, but zither virtuosi were hard to come by in Hollywood, especially in Woods non-existent price-range, so he tracked in classical guitar music to the finished film instead.TheThird Man Themewas later used on a radio series spun out of the movies success, with Orson Welles reprising his role of Harry Lime in a somewhat more benign guise, and a television series called The Third Man, starring Michael Rennie as an international adventurer named Harry Lime and Jonathan Harris (Lost In Space) as his nervous assistant, and re-using Karas theme again, the show ran for two seasons in the late 50s, and was in reruns for years in the 60s. The theme continued to turn up on albums, covered by instrumental rock acts, well into the 80s, while the reruns of the movie keep adding to the ranks of listeners familiar with the zither -- a 1999 nationwide theatrical reissue of a restored edition of the movie will undoubtedly continue the process.

相关电影介绍:

第三人

二战后,美国作家马丁(约瑟夫•科顿 Joseph Cotten 饰)应好友哈里(奥逊•威尔斯 Orson Welles 饰)邀请到维也纳工作,岂料刚到达目的地就传来了哈里车祸身亡的消息。哈里葬礼上,马丁遇到了当地军官卡洛维,卡洛维很不客气的请他马上离开维也纳。马丁没有理会,决心留下调查出好友死亡的真相。 马丁找到哈里的女友斯科姆特小姐(阿莉达•瓦莉 Alida Valli 饰)一起调查事件的真相。随着调查的深入,他们发现内幕越加扑朔迷离,首先是他们的房东遇害,接着马丁自己发现被人跟踪,而且他查出哈里死的时候还有个第三人在场。于是,一切关键就在于找出这个神秘的第三人。

评论

  • 极爱自己

    结尾很喜欢 就站在街道旁等着女主,女主却视若无人的走开了 伴着落叶抽着烟 黑白画面下非常美了

  • 浦岛太郎

    结尾是爱情,不搭飞机也要站在路边等安娜走过,但她也只是走过了。

  • Jean-skiiny

    英式悬疑莫名很喜剧呢哈哈

  • Kefan Zhang

    倾斜构图配合冲撞蒙太奇;黑色电影风格下的极致摄影;丰富的镜头内容(人物运动和镜头运动的精美配合)加上快速的剪辑节奏;影片前半段对转折的铺设,Harry的身份几次转换,从死于意外的正直好友到被黑市商业伙伴杀死的被害者再到谋划一切的黑市操手,应对着的是主角Holly几次心境的微妙变化,尤其是和警长两个角色之间的动态关系实在抓人眼球。

  • 一期一会

    构图也太美了吧 特别喜欢哈里的出场方式 那个时代的建筑和室内装潢真好看 另外还注意到一个细节 在摩天轮上 当哈里得知自己处境不利时原本往霍利倾斜的镜头(哈里占上风)转换成了往哈里倾斜(霍利占上风)

  • 太阳照常升起

    二刷。时代的剪影,永恒的失衡

  • 到哪哪倒龙经理

    看这部电影最有意义的一点是在维也纳看了一部发生在维也纳的电影。奥森威尔斯演得好,但角色深度不足;作家角色更丰富,但演员演技不行,非常可惜。

  • 追星迷妹晴阳阳

    在维也纳去了伯樵兄指路的第三个人博物馆嘿嘿~

  • 大步向前

    黑白电影才会有那种纯粹的质感,那拉长的影子,阴暗的下水道,开头和结尾的葬礼,还有最后那条没有尽头的路。

  • hide in cinema

    用光很厉害,感觉不够Noir,Orson Welles才是主角

  • Dionysus

    巴比肯艺术中心,《第三人》七十周年放映。随带放映的还有音乐分析(主要分析不同段落之间配乐的连接和区别)以及剧本总监同另一位导演出席的访谈录像(剧本总监似乎对奥逊威尔斯很有意见,传言本片出来之后威尔斯大肆宣扬自己有参与指导,但是这位总监说绝对不可能,因为很多戏拍摄的时候他还没进组,并且下水道的戏他因为看到几个剧组小伙子在底下吃三明治就表示再也不想来这个地方,所以最后手部特写的戏都是导演的手)。关于剧作:有很多声东击西的戏,非常精彩,而且都对整个影片的幽默/浪漫感制造了相当的效果。关于配乐:最后蹲点的戏与音乐的结合太棒,整个悬疑部分在那个时候达到高潮。关于人影/阴影的运用:非常非常精彩,既诙谐又刺激。关于结尾:美,太美,当女主角从后景中走来,这么长又这么有趣的一个镜头,一切疑虑、期待都在里头了。

  • 海虻恺

    2019秋 @Curzon Bloomsbury, London;70 Anniversary

  • Unscrupulous

    竟然很有趣!!!死者的登场,结尾处女主目不斜视直直的从男主面前走过... 除了这些神奇的发展外配乐和镜头也很赞,光影配合的太完美了。更加期待维也纳的行程!

  • 摄影爱好者不可错过的一部片子 齐特琴的配乐的‘The Harry Lime Theme’简直太棒了

  • 1234567

    @2017-05-24 22:26:26

  • Harlekin

    剧本放着不说,构图是真好看

  • 武泽豪

    安娜体现出了typical的黑色电影红颜祸水的特点,电影手法,但因为对奥逊有些无感...暂且四星

点击展开>>

本周十佳

热门推荐