The Third Man (1949)
"An American pulp writer arrives in post-WWII Vienna only to find that the friend who waited for him is killed under mysterious circumstances. The ensuing mystery entangles him in his friend's involvement in the black market, with the multinational police, and with his Czech girlfriend." -imdb.com
or 
First it’s a clean copy of an old film with no pops or scratches, the contrast is perfect, and the lightening is impeccable showing master imagery in every frame.
The first moment Orson Wells appears on screen is so visually dramatic that the movie could have ended there. He is beautiful in looks, dramatically powerful is strength, a hypnotic voice, and you will love to hate him.
The story is from the viewpoint of a longtime loyal friend (Joseph Cotton), who discovers that his friend is dead and was a black marketer, causing the suffering of innocents.
His loyalty shaken, he finds himself emotionally at odds. This storyline and visual imagery parallels this struggle.
There is a chase in the sewers where the lighting from the street grating above casts light on the walls like church, the past love for his friend and the disgust at knowing who he has become are side by side.
Take notice of the slight node of the head that Orson Wells gives Joseph Cotton at there last moment ungrounded.
A story of two men, one an opportunist the other a loyal friend and the conflict it invokes all wrapped up in a mystery - brilliantly told, photographed and the zither music is now a classic.
First it’s a clean copy of an old film with no pops or scratches, the contrast is perfect, and the lightening is impeccable showing master imagery in every frame.
The first moment Orson Wells appears on screen is so visually dramatic that the movie could have ended there.
He is beautiful in looks, dramatically powerful is strength, a hypnotic voice, and you will love to hate him.
The story is from the viewpoint of a longtime loyal friend (Joseph Cotton), who discovers that his friend is dead and was a black marketer, causing the suffering of innocents.
His loyalty shaken, he finds himself emotionally at odds. This storyline and visual imagery parallels this struggle.
There is a chase in the sewers where the lighting from the street grating above casts light on the walls like church, the past love for his friend and the disgust at knowing who he has become are side by side.
Take notice of the slight node of the head that Orson Wells gives Joseph Cotton at there last moment ungrounded.
A story of two men, one an opportunist the other a loyal friend and the conflict it invokes all wrapped up in a mystery - brilliantly told, photographed and the zither music is now a classic.