The Third Man is a classic example of a film noir, a black and white mystery featuring a pessimistic American author named Holly Martins. Directed by Sir Carol Reed, the film is a tale of a struggling American (Martins) who arrives in Vienna after World War 2 with the promise of a job and housing from his childhood friend Harry Lime. Martins gradually becomes disillusioned with his friends’ character and decides to join the British government in their search for Lime.

The film utilizes Dutch angles to demonstrate Hollys warped perception of Vienna as he unravels the mystery of Limes death. Along with contrasting street lighting, Dutch
angles are used to dramatize the empty, cobbled streets of Vienna. Twice in the film Lime is revealed by stepping from the shadows into the streetlights. The only scene with extended dialogue between Holly and Harry, set on a Ferris wheel, with the camera elevating the men alternately according to the power dynamic through the conversation. This scene also demonstrates a pivotal moment for Martins in which the mystery of Lime is resolved, and he need to decide which course of action to take. When Harry decides to reveal himself to Holly, he is no longer able to hide from the camera until his death. Harry descends into the sewers, chased by the British and Austrian police. Dutch angles are once again used to highlight the maze-like nature of the sewer system, emphasizing the shadows. The maze which he was previously the only person to solve becomes a trap, as the police track him by the sound of his footsteps. This scene is dominated by diegetic sound; the flow of water, footsteps, gunfire, and dog barks in an absence of background music. Harrys actions are sped up to emphasize his urgency until he is shot in a confrontation with Martins.

The impact of the world war on Vienna is primarily demonstrated through the rubble in the streets, the penicillin black market to which Lime was involved, and the tension between the law enforcement of France, US, UK, and the Russians. Representatives from each government came to arrest Anna for a forged passport. The Russian officer is unpleasant and arrests her while the other three representatives are seen comforting her in turn. This scene highlights the actual political alliances and cements the British as protagonists against Lime before Martins confronts him.

Rome, Open City exemplifies the growing genera of Italian Neorealist filmmaking. Director Roberto Rossellini crafts a story to show the Italian people’s struggle and resistance to the Nazi occupation during the Second World War. Filmed in the year after Rome was liberated, Rossellini used documentary-style shots and long, drawn out takes of dialogue to immerse the audience in the crafted world of Rome in the Nazi occupation. A world in which Rossellini was able to create a united Italy in defiance of Nazi Germany.

Two of the main characters featured in Rome, Open City: Giorgio Manfredi and Don Pietro. The Former is a partisan communist who leads the resistance against the Nazis, and the ladder is a catholic priest that is recruited to help move information and people for the resistance. While apprehensive at first Don Pietro aids the resistance and he and Manfredi eventually grow tor trust and respect one another and are united in their common cause against the German occupation. Outside of Rossellini’s vision of Italy this partnership is very unlikely because in reality the secular communist parties and the Christian democrat parties were often in conflict with one another. In the years leading up to the Fascists rise to power it was the Catholic church’s suspicion of the secular communists that led them to at least tacitly support Mussolini to prevent the communists from taking power. Following the war, the Christian democrats and the socialist/communists parties remained at odds trying to control Italy’s parliament. Rossellini tries to present the embodiments of these ideologies as united and working together towards a better Italy.