THE THIRD MAN (1949) dir. CAROL REED
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Maybe I’m just missing it, but has anyone brought up the influence of Carol Reed on Scorcese’s Goncharov?
Compare this, for instance, from The Third Man, with the iconic scene in the Galleria Umberto, where both Andrey and the viewer are so acutely aware that the situation might turn deadly. The way Goncharov handles the intimacies of touch and potential betrayal -- whether between lovers or informants/contacts, or between those who might be both -- has, of course, been extensively commented on as one of the things that makes the film almost insistently open to queer readings. But I would also argue that it owes much to The Man Between, particularly the latter’s ice skating scene.
And this is to say nothing of the way Naples (and Moscow, as the phantom city, as grey as Naples is colorful, never seen and yet hardly less powerful in the narrative) functions as a character in the film, in much the same way that Vienna and Berlin do in Reed’s postwar films. The discussion of city as character arguably takes us to a discussion of Goncharov’s influence on Das Leben der Anderen (also underappreciated) but that’s another post.
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The Key (1958) dir. Carol Reed
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Favorite films watched in September & October 2023:
Cría cuervos... (1976), dir. Carlos Saura
The Spirit of the Beehive (1973), dir. Victor Erice
Odd Man Out (1947), dir. Carol Reed
Fallen Leaves (2023), dir. Aki Kaurismäki
I Was At Home, But... (2019), dir. Angela Schanelec
Benediction (2021), dir. Terence Davies
The Browning Version (1951), dir. Anthony Asquith
The Boy and the Heron (2023), dir. Hayao Miyazaki
Eyes Without a Face (1960), dir. Georges Franju
Ratcatcher (1999), dir. Lynne Ramsay
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Sophia Loren-William Holden "La llave" (The key) 1958, de Carol Reed.
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