For most of my adult life, I have been obsessed with the Noir genre. From the novels of Raymond Chandler and Dashiell Hammett to the stunning silver screen performances of Bogart and Bacall, the Noir genre captures a moment in artistic history that speaks loudly to me. The 1949 British film, the Third Man, is not only one of my favorite Noir films, but perhaps one of my all-time favorite movies.
It’s a great example of the sort of tight screenplay with beautifully terse dialogue that draws me to any great Noir film. Like any truly great movie, it is complimented by a captivating score. The music, performed exclusively on the Zither (a dolcimer type eastern European instrument), has a unique flavor unlike any other film score I know.