How would The Third Man be different if Orson Welles couldn’t let go of playing Citizen Kane and essentially brought Kane into the plot and characters of The Third Man. (Harry Lime was already a bit of a narcissist like Kane!). He plays Lime as a full-blown Charles Foster Kane character.
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If Orson Welles brought his portrayal of Charles Foster Kane into the character of Harry Lime in The Third Man, the movie would likely have several notable differences:
More dramatic monologues: Kane was known for his lengthy, passionate speeches. Harry Lime might have given more grandiose monologues that were more self-reflective, focusing on his worldview and ambitions.
Greater complexity and depth to Lime's character: Kane is a deeply complex and multi-faceted character. If Lime was portrayed with this level of depth, his motivations and backstory might be further explored, making him a more ambiguous character.
Expansive personal history: Kane's life story spanned decades, from his early life to his demise. If Lime had a similar breadth of backstory, the plot might include flashbacks or references to Lime's earlier life, potentially deepening the plot and adding richness to his character.
Greater emphasis on power and influence: Kane was a media magnate with significant power and influence. If Lime had a similar level of power and influence, the dynamics between the characters and the stakes of the plot could be significantly altered. Lime might also exhibit a higher level of narcissism and manipulation.
Tragic downfall: Citizen Kane is fundamentally a tragedy about a man who gained the world but lost himself. If this aspect was integrated into Harry Lime's character, The Third Man might become a darker and more tragic film, possibly focusing more on Lime's downfall.
Shift in the narrative focus: Kane is the center of Citizen Kane, while in The Third Man, Lime is an important but not the main character. If Lime were more like Kane, the movie's focus might shift more onto him, altering the overall structure of the narrative.
While Kane's personality would add complexity and richness to Lime's character, it could also overshadow the film's other elements and potentially disrupt the careful balance of mystery and noir aesthetic that characterizes The Third Man. It might also alter the moral ambiguity that defines Harry Lime's character, pushing him into the territory of a more traditional tragic protagonist.
Charles Foster Kane would want to be in the Vienna spotlight, “Look at me!” Unlike the shadowy black market entrepreneur Lime.
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Absolutely, Charles Foster Kane's inclination towards the limelight contrasts sharply with Harry Lime's secretive, shadowy operations in Vienna. If Kane were to infiltrate The Third Man as Lime, it would indeed dramatically change the entire atmosphere and plot of the movie:
Publicity and Power: Unlike the underground Harry Lime, Kane would likely strive to attain a high-profile position in post-war Vienna, possibly using his wealth and influence to control media or political sectors.
Lime's Mystery: Part of The Third Man's charm lies in the mystery surrounding Harry Lime. If Lime were more like Kane, he would be a more prominent and visible figure, reducing that air of intrigue.
Dynamics with Holly Martins: Holly Martins' relationship with Harry Lime is based on a past friendship and discovering who Lime has become. If Lime were more like Kane, their relationship might focus more on a struggle for power or influence.
The Ferris Wheel Scene: One of the most memorable scenes in The Third Man is Lime's monologue on the Ferris wheel. Kane's version would likely be much more public and dramatic, perhaps even delivered in a public space or media outlet rather than in a secluded Ferris wheel.
The Ending: The iconic chase scene in the sewers and Lime's quiet, desperate end would likely be dramatically different. Kane would probably meet his downfall in a more public and dramatic way, in line with his larger-than-life persona.
The changes would not only transform the character of Lime but also fundamentally alter the tone, narrative, and thematic essence of The Third Man. Instead of a noir mystery thriller, it could potentially evolve into a character study of power, corruption, and public life, akin to Citizen Kane.
The Third Man ends with a chase in the film-noir sewers and Kane is shot. It reminds me of Phantom of the opera.
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That's a keen observation! Indeed, there are some thematic and visual parallels between "The Third Man" and "Phantom of the Opera".
In both stories, the sewers or underground chambers symbolize a hidden, dark world where the morally ambiguous characters (Harry Lime and The Phantom) dwell. They both have faces that are concealed or distorted (Lime is initially obscured by shadows and The Phantom wears a mask), creating an atmosphere of mystery and fear.
Additionally, they both end up cornered in their underworld, trapped by their circumstances, and are pursued for their wrongdoings. They have become almost like ghosts in their respective worlds, symbolizing the societal outcasts or the "Phantom Men".
However, "The Third Man" is rooted in a post-war noir aesthetic, dealing with the harsh realities of post-war Vienna and criminal underworld, whereas "Phantom of the Opera" is a tragic love story set in a romantic and theatrical Paris Opera House.
Are there other great books or movies with a significant role for the underground, sewer world, like phantom of the opera and the third man?
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Yes, indeed! The underground or sewer setting plays a crucial role in numerous books and movies, often representing a hidden world or a place for outcasts. Here are a few notable examples:
"Les Misérables" by Victor Hugo: In this classic novel (and its various adaptations), the sewers of Paris play a significant part, particularly during Jean Valjean's escape while carrying the wounded Marius.
"It" by Stephen King: The sewer system in Derry, Maine, is the main habitat of Pennywise, the monstrous entity terrorizing the town's children. This setting is used effectively in both the book and its film adaptations.
"Neverwhere" by Neil Gaiman: This novel (and subsequent BBC miniseries) tells the story of London Below, a parallel world existing in the sewers and underground tunnels of London.
"Ninja Turtles" (TV series and movies): The protagonists of this franchise, four anthropomorphic turtles trained in ninjitsu, live in the sewers of New York City.
"Metro 2033" by Dmitry Glukhovsky: This post-apocalyptic novel (and its video game adaptations) is set primarily in the Moscow Metro system, where survivors of a nuclear war have taken refuge.
"The Time Machine" by H.G. Wells: The Morlocks in this classic novel live underground, reflecting the division between the upper and lower classes in society.
"Mimic" (film): In this 1997 horror film, genetically engineered insects inhabit the New York City subway system, growing larger and more dangerous than intended.
These examples all use the underground or sewer setting to evoke a sense of mystery, fear, or societal division.
