The Third Ending

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Martins attends Lime's funeral, and waits by the side of the road to speak toLime's mistress. In one of the most memorable endings ever filmed, the girlwalks deliberately past Martins, into the camera and beyond while Martinslights a cigarette to conceal his discomfiture. Suddenly, all the disquietingelements in this thriller fall into place, and new layers of meaning rise abovethe surface. Holly Martins has been repudiated by Reed and Greene as well as byLime's mistress. Having been torn between a personal loyalty to Lime and a moral obligation tohelp the authorities arrest him, Martins finally allows his social conscienceto take precedence over personal considerations, and that - according to Sarris- is what justifies an ending in which Martins is duly punished for hisbetrayal of Lime: "The point that Reed and Greene make [...] is that moralresponsibility is personal rather than social, especially in a world that hasgone awry " (p. 12). OppositionsYet another source of richness within the final scene are the binaryoppositions running through it: Holly's immobility is played off against Anna'sunstoppable propulsion forward, just as Holly's concern for Anna ("One can'tjust leave") is played off against Anna's icy indifference toward him.

The coda’s meaning is murky, but it has the potential to shift our understanding of everything that happened in season three. Pellegrini was always a formidable foe for Assane, but the men operated differently. Assane was the clever thief, able to outmaneuver Pellegrini. Pellegrini, on the other hand, manipulated Assane (and Assane’s father) using his money and influence. The scene suggests that Pellegrini is a mastermind equal to, or maybe even better than, Assane — that the entire season, from the moment Mariama is introduced, is a Rube Goldberg device designed to put Assane in prison. Composer Mathieu Lamboley tells Tudum that compared to Parts 1 and 2, the music in Part 3 is more fun. “You have all these reveals, what we call Lupinade, when you learn how Lupin did [this] and did that, the whole thing. We have a lot of that in Part 3, so I had to compose more enjoyable and funny music with the main theme. We have a new character in the show — Keller, the bad guy — so I had to find the right color for him. I tried to do more electro and synth music, more dark, darker, to make a contrast. You have Lupin, quite fun, and Keller, quite bad.” How do Raoul and Claire discover Assane is still alive? Gomez, Joseph A. " The Third Man: Capturing the Visual Essence ofLiterary Conception," Literature/Film Quarterly 2, 4 (Autumn 1974), pp.334 -340. compositional area. The structures are very typical inside radio friendly music. I must say that even

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Holly: I make comic faces and I'd stand on my head and grin at youbetween my legs and tell all sorts of jokes... Wouldn't stand a chance, wouldI? (Tears roll down Anna's cheeks.) You did tell me I ought to find myself agirl. In attempting to do that, I have suggested that the ending draws its appealfrom a number of factors, including: a unique interplay of inevitability andsurprise; a number of symmetries enhancing closure and enriching our visualexperience of the final shot; changes at the center of the shot and in thefocus of our attention; salient binary oppositions; the falling leaves asmetaphor; and the zither music. There are two weaknesses to this band. The first and strongest weakness would be the songwriting or The falling leaves as metaphorThroughout the final shot, leaves continue to fall onto the road. ForMoss (op. cit., p. 191), this was a "curtain of autumnal leaves [...] creatinga last image of the decay that has played such a formidable part in the film'sambiance." Another possibility is to see the falling leaves as a metaphor forsadness [14] and for the ending phase of alife-cycle - in this case, the ending of the relationship between Holly andAnna, and the ending of the film. Palmer, James W. and Michael M. Riley. "The Lone Rider in Vienna: Myth andMeaning in The Third Man," Literature/Film Quarterly 8, 1(1980), pp. 14-21.

interplay of inevitability and surpriseThat Anna would never accept Holly Martins as her lover has been madeabundantly clear to us in the scene in which Holly shows up drunk at herapartment, late at night, and he declares his love for her. You’re not imagining things — we definitely know the silhouette of the cigar-smoking inmate at the end of the season. Assane is sitting in jail when he receives an envelope from the cell next door. Of all the prisons in all of France, Assane’s serving his time next to none other than Hubert Pellegrini! Who is Mariama? Other critics, though adopting a more moderate stance, followed Sarris' lead inviewing the ending as in some sense either deserved by Martins or enhancingLime's status in our eyes. They include Voigt (1974), [6] Adamson and Stratford (1978), [7] Palmer and Riley (1980) [8] and Moss (1987). [9]Denby, David. "Night World" in Favorite Movies. Critics' Choice, ed.Philip Nobile. New York: Macmillan, 1973, pp. 87-96. proportions. You'll recieve quite enjoyable melodic Heavy Prog, with lots of ballads, reoccuring musical themes and harmonies, McFarlane, Brian. " The Third Man: Context, Text and Intertextuality," Metro Magazine 92 (Summer 1993), pp. 16-26.