Don’t be put off by the title. The Life and Death of Colonel Blimp (1943) is one of the finest British films ever made.

Based on the popular Colonel Blimp political cartoon that satirized Britain’s military establishment, Winston Churchill was so worried the film would send the wrong wartime message to British and American audiences he tried to stop it in mid-production.

Michael Powell and Emeric Pressburger, the film’s co-directors, had hoped to use Laurence Olivier in the title role of Clive Candy, but the Ministry of War refused to release Olivier from military duty. In his place, Powell and Pressburger chose Roger Livesey, who gives a remarkable performance that convincingly portrays Candy over a 40-year period encompassing three wars.

Churchill allowed the film to be released in Britain in July 1943, but held up its release to the U.S. until 1945. That version was 10 minutes shorter than the British version (153 minutes versus 163 minutes). After an unsuccessful run, the U.S. print was trimmed to 93 minutes and wasn’t seen uncut in either England or the United States until the 1970s.

While the controversy over the Blimp character is important for understanding the context of the movie, it’s the excellent performances, as well as the subtle direction and intelligent script by Powell and Pressburger, that make this a real standout. Here are some examples of the dialogue:

Hoppy: I was awfully sorry to hear about your leg. [Looks down] Jumping Jehosaphat! They’re both there!
Clive Candy: What the hell did you think I was standing on?
Hoppy: They told me in Bloemfontein that they cut off your left leg.
Clive Candy: [Examines leg] Can’t have, old boy. I’d have known about it.

Clive Candy: The Kaiser spoke — and the Prince of Wales spoke . . .
Edith Hunter: Spoke about what?
Clive Candy: Nobody could remember.

Clive Candy: Well sir, I have a friend . . .
Colonel Betteridge: Good. Not everybody can say that. Continue!

Clive Candy: I heard all that in the last war! They fought foul then — and who won it?
Theo Kretschmar-Schuldorff: I don’t think you won it. We lost it — but you lost something, too. You forgot to learn the moral. Because victory was yours, you failed to learn your lesson twenty years ago and now you have to pay the school fees again. Some of you will learn quicker than the others, some of you will never learn it — because you’ve been educated to be a gentleman and a sportsman, in peace and in war. But Clive! [tenderly] Dear old Clive — this is not a gentleman’s war. This time you’re fighting for your very existence against the most devilish idea ever created by a human brain — Nazism. And if you lose, there won’t be a return match next year. . . perhaps not even for a hundred years.

Clive Candy: War starts at midnight!

Filmed in London and the surrounding countryside during the Blitz, this is an epic film. It’s epic not just in its physical and temporal scale, but also in its ambitious themes. The story is an elegy on friendship and divided loyalties, on lost opportunities and an unwillingness to adapt.

Unlike the blustery and bullheaded Blimp of the political cartoon, this Blimp is sympathetic. At heart, he’s a good man who can admit his mistakes. Because he’s entirely human, and not a cardboard figure, the criticism of Churchill’s military rings truer that it might have otherwise.

The Life and Death of Colonel Blimp
(1943; directed by Michael Powell and Emeric Pressburger)
The Criterion Collection (DVD)

Monday, September 16 at 9:00 a.m. eastern on Turner Classic Movies

Winchester ’73 (1950) is an important film for many reasons. It’s the first in a string of five top-notch westerns made over a five-year period that were directed by Anthony Mann and star James Stewart. The other four are Bend of the River (1952), The Naked Spur (1953), The Far Country (1955), and The Man from Laramie (1955).

You could argue that Winchester ’73 is the first modern western. It brings the flawed protagonist from the film noirs over to the westerns. Mann had already made a name for himself with his skillful direction of tough-guy psychological dramas, including T-Men (1947), Raw Deal (1948), and Side Street (1949). By 1950, he was well prepared to reinvigorate the western genre by giving it a darker, more anguished hero.

The success of Winchester ’73 is largely responsible for the rebirth of the genre in the 1950s, and its tone would lead to other revisionist westerns, such as John Ford’s The Searchers (1956) and Sam Peckinpah’s The Wild Bunch (1969). It isn’t fair, however, to say there were no dark westerns prior to 1950. Howard Hawks’ Red River (1948) points in this direction, though the John Wayne character isn’t the protagonist of that film.

Winchester ’73 is also notable for its contribution to the break up of the studio system. Mann couldn’t afford to pay Stewart his usual salary, so Stewart agreed to take a percentage of the profits. That turned out to be a smart move, because Winchester ’73 went on to gross $4.5 million in the U.S. That encouraged similar deals between other actors and production companies, and this alternative method of compensation broke the studios’ control in determining which movies actors would appear in and how much they would be paid.

Stewart was a big star at the time (Harvey was released that same year), though he hadn’t appeared in a western since Destry Rides Again (1939). He was taking a risk, as was Mann, in making a moody western. The public may not have accepted the usually upbeat Stewart as having deep unresolved psychological issues. Obviously, the public was able to handle the complexity, and this type of role proved to be a creative shot in the arm for Stewart, who would go on to play brooding roles in the other Mann-Stewart westerns, as well as Hitchcock’s Rear Window (1954) and Vertigo (1958).

Winchester ’73
(1950; directed by Anthony Mann)
Universal Studios (DVD)

Saturday, September 14 at 10:00 p.m. eastern on Turner Classic Movies

If the measure of a classic film is its ability to withstand the erosions of time, 2001: A Space Odyssey (1968) would have to be regarded as the best science fiction film of all time. Though we have moved beyond it chronologically, its predictive value still seems valid.

The decades-old special effects also hold up well. By comparison, George Lukas felt the need to repeatedly update the special effects and storyline in Star Wars (1977), despite the fact it was released nine years later. Science fiction films are especially prone to becoming dated. Both Woman on the Moon (1929) and Things to Come (1936) boldly depict a future that now seems forever bound to a distant past.

One of the reasons 2001 endures is Kubrick’s obsession with getting it right. When there’s an explosion in space, you don’t hear the sound of the explosion. That’s less dramatic, but completely accurate — there’s no air in space to carry the sound. Kubrick and writer Arthur C. Clarke even poke fun at their quest for authenticity. One scene shows the lengthy instructions needed to successfully operate a zero-gravity toilet.

Kubrick did find a technical flaw just before the film was released. It would have been too costly to correct, so the mistake remains. During the flight to the moon, Dr. Floyd drinks food through a straw, in what we understand to be a weightless environment. If you look closely, you can see the food drop when he stops sucking on the straw. Since there’s no gravity, the food shouldn’t be falling back.

Another reason this movie seems contemporary is the remarkably detailed spacecraft and docking facilities. This is the first modern science fiction film in terms of the care and expense devoted to making space travel appear as lifelike as possible. It also didn’t hurt that the movie was shot in 65mm (Super Panavision 70), which provides nearly four times the resolution of a standard 35mm film.

A third contributing factor is the open-ended plot. The conclusion of the film is open to so many different interpretations, you’ll find a variety of websites claiming to “explain 2001.” Even if you accept the most plausible plotline (aliens monitor our technological advances and then help mankind to take the next evolutionary step), there is still a strong element of mystery.

The film combines an obsessive attention to detail with a poetic sense of greater possibilities. That the two can coexist is a testament to Kubrick and Clarke’s creative talents and their willingness to take a great leap of faith in the power of this extraordinary medium.

2001: A Space Odyssey
(1968; directed by Stanley Kubrick)
Warner Home Video (Blu-ray, UHD, and DVD)

Thursday, September 12 at 8:00 p.m. eastern on Turner Classic Movies

It’s interesting to note that my two favorite film noirs of the 1940s — Double Indemnity (1944) and Out of the Past (1947) — also have the two best femme fatales (Barbara Stanwyck and Jane Greer). Which one is the deadliest? If both were in the room, I would say keep your eye out for Greer. She’s much better at convincing those around her that she couldn’t possibly be doing what you think she is doing.

In Out of the Past, Jeff Bailey (Robert Mitchum) describes Kathie Moffat (Greer) as “a bit cold around the heart.” Jeff knows he is being conned, and that he is going to have to pay big time for it, but he can’t help himself (just like Walter Neff in Double Indemnity).

This was Mitchum’s first starring role, and he wasn’t the first choice. Both John Garfield and Dick Powell turned down the part. This is arguably Mitchum’s best role and a perfect launching pad for his career. Kirk Douglas plays Whit Sterling, who sends Jeff to look for Kathie, his mistress. Daniel Mainwaring (using the pen name Geoffrey Homes) wrote the screenplay based on his novel, Build My Gallows High.

Director Jacques Tourneur expertly guides the viewer through the various plot twists and double dealings. Tourneur is best known for his previous collaboration with Val Lewton on the atmospheric horror films Cat People (1942) and I Walked with a Zombie (1943), though Out of the Past is probably his finest film. He came by his talent naturally. His father was Maurice Tourneur, a well-respected Hollywood silent film director.

Here’s a trivia question for you. When the film was remade in 1984 as Against All Odds, what part did Jane Greer play? She was cast as the mother of her original character.

Out of the Past
(1947; directed by Jacques Tourneur)
Warner Archive Collection (Blu-ray and DVD)

Sunday, September 8 at 10:00 a.m. eastern on Turner Classic Movies

The best film noir centers on fate. Characters are destined to commit a crime because they can’t escape their past. Or a fatal flaw keeps them from seeing the obvious truth, so the tension builds as we’re unable to warn the characters, as we might be able to do in real life.

Double Indemnity (1944) is almost a textbook film noir. The voice over and flashbacks reinforce the inevitability of the outcome. We already know Walter Neff (played by Fred MacMurray) has committed a crime, has been shot, and will likely be caught. As we watch the flashbacks, we accept the inevitable outcome, knowing nothing can prevent him from being used by Phyllis Dietrichson (played by Barbara Stanwyck).

With the whodunit out of the way, we can sit back and enjoy the unfolding story. Walter’s self assurance and mocking humor are seen for what they are — a cover for a weak character that’s no match for Phyllis’ cunning manipulation.

Double Indemnity was only the third film that Billy Wilder had directed, though he had already made his mark in Hollywood as a writer for such classic films as Midnight (1939), Ninotchka (1939), Hold Back the Dawn (1941), and Ball of Fire (1941).

The movie is based on a James M. Cain story which first appeared in 1935 in Liberty Magazine. Cain was not available to work on the screenplay, so Wilder called in novelist Raymond Chandler, who is best known today for creating the character of private detective Philip Marlowe.

Chandler had a great ear for dialogue. He also knew how to successfully extend a metaphor far beyond what anyone thought was humanly possible. Wilder knew how to take a complicated plot and make it completely understandable when transferred to the screen. He was also a master of restrained cynicism. Together they wrote one of the best scripts of the 1940s.

Here’s a small sample:

Phyllis: Mr. Neff, why don’t you drop by tomorrow evening about eight-thirty. He’ll be in then.
Walter: Who?
Phyllis: My husband. You were anxious to talk to him weren’t you?
Walter: Sure, only I’m getting over it a little. If you know what I mean.
Phyllis: There’s a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter: How fast was I going, officer?
Phyllis: I’d say about ninety.
Walter: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter: Suppose it doesn’t take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband’s shoulder.
Walter: That tears it.

With Double Indemnity, everything works together in lockstep — the script, the direction, the acting, the lighting, everything. Elements from this movie are copied and adapted every decade, as new directors strive to rekindle the magic. None have surpassed it. And why bother? When we have the original to enjoy and cherish.

Double Indemnity
(1944; directed by Billy Wilder)
Universal Studios (Blu-ray and DVD)

Sunday, August 25 at 8:00 p.m. eastern on Turner Classic Movies

Sometimes the conventional wisdom is true. In this case, Citizen Kane (1941) really is one of the best films ever made. Another bit of conventional wisdom is that Welles wasn’t able to direct another great film after Kane. That bit of shared knowledge is not true.

Kane is the only film where Welles was given complete control — and close to unlimited resources — to make the film he wanted. But how could a 25-year-old novice pull off what many have called the great American film? Here’s how Welles explained it in a 1966 interview conducted by Juan Cobos, Miguel Rubio, and J. A. Pruneda for the French film magazine Cahiers du Cinéma:

I owe it to my ignorance. If this word seems inadequate to you, replace it with innocence. I said to myself: this is what the camera should be capable of doing, in a normal fashion. When we were on the point of shooting the first sequence, I said, ‘Let’s do that!’ Greg Toland answered that it was impossible. I came back with, ‘We can always try: we’ll soon see. Why not?’ We had to have special lenses made because at that time there weren’t any like those that exist today.

Kane is a virtual catalog of visual and aural film techniques that give it a level of energy few films are capable of sustaining. Yet the real accomplishment is the tight integration of those techniques. Yes, the techniques are there to impress the audience, but more importantly, they’re there to fill out the characters and story.

Welles was young, but no babe on the woods. The studio gave him complete freedom because of his meteoric rise in radio and the theater. His radio drama of War of the Worlds had literally scared some listeners into believing there was a real invasion from Mars. And he had earned the moniker, “Boy Wonder of Broadway,” by staging such experimental productions as a Macbeth set in Haiti with an all African-American cast, a modern-dress Julius Caesar, and a production of the jazz opera, The Cradle Will Rock.

In his article for Action Magazine 4 (1969), titled “Citizen Kane Revisited,” Arthur Knight wrote that Welles spent hundreds of hours studying past films, first at the Museum of Modern Art and later on the RKO studio lot. Welles was particularly drawn to John Ford’s films. He watched Stagecoach over and over again, in order to analyze each shot. Though he downplayed the notion in public, Welles knew how to break the rules because he had taken the time to learn the rules in the first place.

Welles brought almost all of Kane’s actors, as well as music composer Bernard Herrmann, from the theater. Being new to Hollywood, they were eager to show what they could do. Though a veteran of Hollywood, Greg Toland was the perfect choice for director of photography. He was just as willing to experiment.

It’s a wonder it all came together. Here the credit goes to Welles and fellow-screenwriter Herman J. Mankiewicz. Citizen Kane has a depth of character and narrative flow that matches its technical fireworks. If you haven’t seen it, don’t hesitate. It’s one of a handful of films that shows what the medium is truly capable of producing.

Citizen Kane
(1941; directed by Orson Welles)
Warner Bros. (Blu-ray), Turner Home Entertainment (DVD)

Thursday, August 15 at 4:00 p.m. eastern on Turner Classic Movies

Lubitsch’s To Be or Not to Be (1942) was criticized at the time of its release for being too morbid and for taking a serious subject too lightly. Like Chaplin’s The Great Dictator (1940), it attacks Hitler and the Nazi movement with a broad brush. We would call this a black comedy, which is a film that takes an over-the-top, almost farcical approach to a sensitive subject. We’re quite comfortable with this style of comedy today, but in the 1940s, this type of satire in movies was still untested.

In his book Index to the Films of Ernst Lubitsch, Theodore Huff writes:

The Lubitsch burlesque, laid in Nazi-invaded Warsaw, was called callous, a picture of confusing moods, lacking taste, its subject not suitable for fun making. While others felt that such merciless satire and subtle humor were good anti-Nazi propaganda, the picture was, perhaps, ill-timed, doubly so as it opened not long after the death of Carole Lombard, killed in an airplane accident at the height of a brilliant career.

Based on an original idea by Lubitsch and Ninotchka-author Melchior Lengyel, To Be or Not to Be is the story of a small Polish theatrical troupe forced to shut down after the Nazi invasion. Actor Josef Tura (Jack Benny) suspects his wife Maria (Carole Lombard) may be cheating on him. Tura sees the same young Lieutenant (Robert Stack) leave his seat in the theater each night, just as he begins Hamlet’s soliloquy. After a series of comedic twists and turns, the acting group is called on to give the performance of a lifetime. They’ll have to impersonate their Nazi occupiers, or die trying.

The film is full of wonderful Lubitsch touches — nuggets of visual wit and clever dialogue. Memorable lines include:

Colonel Ehrhardt: They named a brandy after Napoleon, they made a herring out of Bismarck, and the Fuhrer is going to end up as a piece of cheese!

Greenberg: Mr. Rawitch, what you are I wouldn’t eat.
Rawitch: How dare you call me a ham?

Maria Tura: It’s becoming ridiculous the way you grab attention. If I tell a joke, you finish it. If I go on a diet, you lose the weight. If I have a cold, you cough. And if we should ever have a baby, I’m not so sure I’d be the mother.
Josef Tura: I’d be satisfied to be the father.

If all this sounds vaguely familiar, you may have seen Mel Brooks’ 1983 remake, also titled To Be or Not to Be. It follows the Lubitsch film almost scene for scene. Brooks takes the Jack Benny role, and Brooks’ real-life wife Anne Bancroft takes the Carole Lombard role.

To Be or Not to Be
(1942; directed by Ernst Lubitsch)
The Criterion Collection (Blu-ray and DVD)

Thursday, August 14 at 12:00 a.m. eastern (late Wed. night) on Turner Classic Movies

Greatest Western of all time? Most influential Western? Archetypal Western? Stagecoach (1939) may be all three, depending on your point of view. John Ford hadn’t made a Western since 3 Bad Men (1926) and was eager to make another. Stagecoach was originally slated to be shot in Technicolor with David O. Selznick as the producer. Selznick wanted Gary Cooper to play the part of the Ringo Kid and Marlene Dietrich to play the part of Dallas. Ford disagreed, broke with Selznick, and teamed instead with producer Walter Wanger. Ford had already planned to cast John Wayne as the Ringo Kid. He cast Claire Trevor as Dallas.

Stagecoach was both a critical and financial success. Ford and screenwriter Dudley Nichols created a quintessential Western with easily understood moral distinctions that pit right against wrong and an underlying yearning for traditional open-sky freedoms. Yet it was also a subversive Western that turned the tables on many of the genre’s clichés. As Joseph McBride explains in his definitive Ford biography, Searching for John Ford, “Stagecoach literally was a political vehicle for Ford and Nichols, a way of looking at America’s past and present. This meta-Western can be read as a justification of American Manifest Destiny on the eve of World War II, a scathing critique of capitalistic corruption and Republican hypocrisy, and a celebration of the egalitarian values of the New Deal.”

McBride recounts the impish delight the pair displayed when they spoke with a New York journalist, just days before the opening:

“We’re particularly attached to this one,” said Nichols, “because it violates all the censorial canons.”

“There’s not a single respectable character in the cast,” declared Ford. “The leading man has killed three guys.”

“The leading woman is a prostitute,” Nichols added.

“There’s a banker in it who robs his own bank,” Ford noted.

“And don’t forget the pregnant woman who faints,” Nichols went on.

“Or the fellow who gets violently ill,” said Ford, referring to the drunken doctor.

From our perspective, Stagecoach looks and feels like a conventional Western expertly put together. There’s no fluff. Ford was famous for cutting out dialogue and expository scenes that weren’t absolutely necessary to the plot or the development of the characters. Even though his style was strikingly different from Ford’s, Orson Welles referred to Stagecoach as his “movie textbook.” Welles said he watched the film “over forty times” in order to learn how to make movies. While preparing to direct Citizen Kane (1941), he studied Stagecoach each night for more than a month, often accompanied by one or more of the technicians at RKO.

If you’re a fan of Hollywood movies from the 1930s and 1940s, don’t pass this one by. Even if you don’t care for Westerns, you’ll find this one rich in history with multi-dimensional characters real enough to walk out from the screen. That Ford was able to release both Stagecoach and Young Mr. Lincoln in 1939 was an incredible accomplishment, followed by The Grapes of Wrath and The Long Voyage Home in 1940, and How Green Was My Valley in 1941. With these and many other outstanding movies to his credit, Ford would become the greatest director in the history of film.

Stagecoach
(1939; directed by John Ford)
The Criterion Collection (Blu-ray and DVD)

Saturday, August 3 at 12:00 p.m. eastern on Turner Classic Movies

Many people are surprised that James Cagney’s only Oscar was for his role in Yankee Doodle Dandy (1942). One reason is that the Academy doesn’t tend to reward performances in genre films, such as gangster, adventure, or science fiction films. It also doesn’t tend to reward performances in musicals, though Yankee Doodle Dandy was an exception.

If you think of Cagney’s roles in the gangster movies, it was his confidence that won you over. Only 5 feet 6 inches tall (short by Hollywood standards), Cagney could stare down anyone in the room. It’s just that kind of brash confidence that made him the perfect choice to portray George M. Cohan, who was just as cocky and full-of-himself in real life as Cagney was onscreen. Cagney also had the background needed to play the part. He started in Hollywood as a song-and-dance man, but was sidetracked into gangster movies when asked to switch parts at the last minute.

Cagney did get a chance to return to his song-and-dance roots with his role in Footlight Parade (1933). There, as in Yankee Doodle Dandy, he doesn’t come off as a polished singer or dancer. It’s his enthusiasm that wins you over. He becomes a terrific dancer almost be sheer will alone. If you’ve ever been told, “it’s not what you have; it’s what you do with it,” you’ll find all the proof you need in Cagney’s performance in Yankee Doodle Dandy

Of course, it takes more than a single strong performance to make a great film — particularly if that film happens to be a musical. Cohan’s deeply patriotic songs are real crowd pleasers, not just for their sentiment, but also because they’re the kind of songs that linger in the mind long after you first hear them. Though written for World War I era audiences, they were equally appropriate in 1942 when this movie was released — just months after Pearl Harbor. Even from our perspective, the songs and sentiment still ring true. Odds are you already know many of the songs from the film, which include “The Yankee Doodle Boy” (a.k.a. Yankee Doodle Dandy), “Give My Regards to Broadway,” “You’re a Grand Old Flag,” “Harrigan,” “Mary’s a Grand Old Name,” and “Over There.”

A heartfelt movie biography could easily fall on its face without a strong script. Credit here goes to Robert Buckner and Edmund Joseph, who adapted the screenplay from Buckner’s story. Director Michael Curtiz, whose Casablanca was released the same year, keeps the pace brisk with plenty of humor to take off the edge. Here are some snippets of dialogue:

Critic #1: I call it a hit. What’ll your review say?
Critic #2: I like it too, so I guess I’ll pan it.

George M. Cohan: My mother thanks you, my father thanks you, my sister thanks you, and I thank you.

Newspaperman: He’s the whole darned country squeezed into one pair of pants!

Sergeant on parade: What’s the matter, old timer? Don’t you remember this song?
George M. Cohan: Seems to me I do.
Sergeant on parade: Well, I don’t hear anything.

Michael Curtiz was perhaps Hollywood’s hardest working director in the 1930s and 1940s. He turned out an impressive 44 features for Warner Bros. from 1930 through 1939. Curtiz had an extraordinary range across a diverse group of genres. In addition to Yankee Doodle Dandy and Casablanca, he directed Black Fury (1935), Captain Blood (1935), The Charge of the Light Brigade (1936), The Adventures of Robin Hood (1938), Four Daughters (1938), Angels with Dirty Faces (1938), The Sea Hawk (1940), The Sea Wolf (1941), Mildred Pierce (1945), Life with Father (1947), and The Breaking Point (1950).

The new Blu-ray disc released on October 14 looks great — and it’s a big improvement over the previous DVD versions. The generous selection of extras is essentially the same as on the two-disc special edition DVD. Unfortunately, the extras are ported directly over in the same standard-definition video (480i). The exception is the 1943 Looney Tunes cartoon short Yankee Doodle Daffy. Like the movie, it has been upgraded to a very nice 1080p video. This Blu-ray is an excellent way to experience this top-notch musical drama.

Yankee Doodle Dandy
(1942; directed by Michael Curtiz)
Warner Archive Collection (Blu-ray)
Warner Home Video (DVD)

Thursday, July 4 at 5:30 p.m. eastern on Turner Classic Movies

We talk about the great directors, yet it’s always a group effort. It takes a strong director to steer the many divergent elements in the same direction. When the process works, all the elements fit together so the result is equal to more than the sum of the parts. The Third Man (1949) is a film where everything meshes — the script, acting, camera placement, lighting, music. It’s probably the best British film made after World War II, as well as the best film noir made in Europe.

Because each of the elements is so exceptional, director Carol Reed is rarely given the credit that’s due. He pushed to have the zither music in the movie. He also argued for the final shot being held much longer than writer Graham Greene or producer David O. Selznick thought appropriate. Selznick wanted to use studio interiors for the production, but Reed preferred the actual war-torn streets of Vienna as a backdrop. The camera and lighting compositions with their odd angles and surreal effects contribute significantly to the atmosphere of the story. The overall look combines the moody darkness of a film noir with the starkness of a you-are-there documentary.

Graham Greene’s script was developed specifically for this project. He also wrote it as a short story, but only to work out the ideas. In his book Ways of Escape, Greene explained, “The reader will notice many differences between the story and the film, and he should not imagine these changes were forced on an unwilling author: as likely as not they were suggested by the author. The film in fact is better than the story because it is in this case the finished state of the story.”

As good as Greene’s script is, the most famous lines from the film were written by Orson Welles. Onscreen for a comparatively short time, Welles’ performance as Harry Lime stands out as one of his best roles. Here are two nuggets from Welles’ self-penned dialogue, where Lime explains to Rollo Martins (played by Joseph Cotten) that it’s a dog-eat-dog world:

Martins: Have you ever seen any of your victims?
Lime: You know, I never feel comfortable on these sort of things. Victims? Don’t be melodramatic. Tell me. Would you really feel any pity if one of those dots stopped moving forever? If I offered you twenty thousand pounds for every dot that stopped, would you really, old man, tell me to keep my money, or would you calculate how many dots you could afford to spare? Free of income tax, old man. Free of income tax — the only way you can save money nowadays.

Lime: Don’t be so gloomy. After all it’s not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love — they had 500 years of democracy and peace, and what did that produce? The cuckoo clock.

Avoid the poor quality prints that were struck when the film temporarily lapsed into the public domain. The discs from Criterion and Lions Gate are the best way to see it — other than in a movie theater, of course. I haven’t seen the print that TCM shows occasionally, though that network is usually conscientious in trying to obtain the best available print.

The Third Man
(1949; directed by Carol Reed)
The Criterion Collection (Blu-ray and DVD, out of print)
Lions Gate — StudioCanal Collection (Blu-ray)

Friday, June 28 at 2:00 p.m. eastern on Turner Classic Movies