Reed's films cannot help but be measured against the great Third Man. This doesn't quite compare, but it's still good. At it's best, it presents the audience with the various conflicting reactions to an incendiary figure - vicious opportunists vie with fanatic followers, while humble folk try to sort out all the confusing implications. These conflicts get a little belabored, though (esp. drunk painter). Mason is fine, but his character's ambiguity often verges on blank emptiness of character.

This is not director Carol Reed's best film (ranking behind The Third Man,The Stars Look Down, Outcast of the Islands, Night Train to Munich), but it impressively displays Reed's command of image and atmosphere.

Some nice photography. If only the decent, albeit slightly unfocused, plot had been as crisp. Why not spend more time with Rosie and the Inspector? Or the priest. Instead, we get somewhat superflous scenes with a homeless painter, a character bordering on caricature which I would've liked to cut (from the movie; and literally).

Its backdrop is political, but it's more about the motivations, choices, and consequences of desperate characters caught in the crossfire of an unfortunate situation. Apart from his crisis of conscience after killing a man, the main character is a bit of a blank slate, merely a catalyst for the rest of the cast. But James Mason plays him well, and the movie is so much fun that I didn't really care. The cinematography anticipates the shadowy Viennese labyrinth Reed would become best known for.

A very solid noir with spectacular photography, particularly the parts featuring rain and snow. The surreal touches help the film stand out more as well.

#500

A wonderful film with two main threads, the story of a man trying to get back home after a botched robbery and the reactions toward him of everyone else in the film. At times things progress a tad slowly, and Mason isn't the most appealing lead, but the tension holds well throughout the film and the photography and use of shadows is spectacular. Especially the final scenes, with hallucinations and snowfall, are beautiful to watch.

Reed once again brings on the stunning photography, with deep, long shadows and fantastic hallucination sequences. And the story contains a lot of tension, and comments on the issue of taking sides without actually taking sides itself. However, it falls short of The Third Man. Mason doesn't have the commanding screen presence of Cotten or Welles. And I couldn't help feeling a bit restless, wanting the plot to move forward more swiftly. It felt like the suspense was at odds with the drama.

Carol Reed in training for his masterpiece; could use more talent in the cast [Kathleen Ryan is no Alida Valli] but it's well-rounded enough. That last act really puts a damper on things, stretches it out to an unwieldy pace.

469

I wanted to like this one so much, lover of James Mason and The Third Man that I am, but apart from some great acting and occasional lapses into poetry, it falls flat.

# 394

531

Mason is very good indeed, and it begins well, but when Robert Newton's character comes in, the plot falls apart.

Another great looking noir from Carol Reed. I loved the homeless painter.

The slow build from standard thriller to philosophical/spiritual contemplation is surprising in the best of ways. And maybe the entire run time was needed to make the transition believable. However, despite the beautiful b&w photography and the engaging camera moves, the film drags a bit by the end. Trimming a bit of the fat would have made this film a real powerhouse. As it is, it stands as an enjoyable and thought-provoking meditation on the centrality of love.