By Jake Coyle, Film Writer
CANNES, France (AP) --Break out your zithers: "The Third Man" is back.
Sixty-six years after Carol Reed's noir masterpiece first debuted, "The Third Man" premiered again at the Cannes Film Festival, this time in a freshly restored print as part of the Cannes Classics program. It was a kind of homecoming: "The Third Man" won the Palme d'Or at the third Cannes in 1949, back when Europe was still rebuilding from World War II. "Bombed about a bit" is how the opening narration of "The Third Man" describes its Vienna setting.
If Cannes is movie nirvana, a restored "Third Man" is something like seventh heaven. Ever since audiences first laid eyes on it, "The Third Man" has ranked as one of the most beloved films of all time, endlessly adored for its rich postwar atmosphere, its darkly sly humor and its deep, expressionist shadows. It contains one of the finest movie scores (Anton Karas' indelible zither), one of the truly great scenes (Orson Welles' "cuckoo clock") and almost certainly the most spectacular foot chase ever.
"The Third Man" somehow encapsulates so many of the medium's best qualities: wit and tragedy, lush imagery and charismatic stars, unforgettable lines and an evocative on-location setting. Roger Ebert said "The Third Man" ''completely embodies the romance of going to the movies." Welles said it was the only film of his he was always happy to watch.
Fans will be pleased to hear that the extensive restoration by Rialto Pictures, the first major restoration of "The Third Man," has only enhanced and clarified the film's gorgeous black-and-white photography. The restored "Third Man" will be released in New York on June 26, in Los Angeles July 3 and tour elsewhere after that.
The re-release coincides with the centennial of Welles. His 100th has been feted in Cannes with a number of screenings, including two new documentaries about him. A handful of producers and Welles' daughter, Beatrice Welles, are also currently trying to raise $2 million in crowdfunding to pay for the post-production on Welles' final, unfinished film, "The Other Side of the Wind."
Though Welles has sometimes been credited with helping Reed direct "The Third Man," that's been proved a misconception by film historians. Here he is merely an actor, and one that doesn't enter the film until its second half.
Joseph Cotton stars as Holly Martins, a writer of cheap Westerns — "a scribbler with too much drink in him" — who has come to Vienna to visit his old friend Harry Lime (Welles). But Martins arrives to find Lime, a racketeer, has died mysteriously. Falling in love with Lime's mourning girlfriend (Alida Valli) and feuding with a British major (Trevor Howard), Martins attempts to investigate his friend's apparent death.
"The Third Man," penned by Graham Greene, will likely always seem relevant for its depiction of postwar crime and the allure of Welles' charming, rationalizing gangster.
"You know what the fellow said: In Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance," he says, disembarking a clandestine meeting atop a Ferris Wheel. "In Switzerland, they had brotherly love, they had five hundred years of democracy and peace — and what did that produce? The cuckoo clock."
"The Third Man" persists, though, less because of any contemporary significance but because of its gem-like perfection, its sweet melancholy, its shadowy symphony.
Mike Pierantozzi joins Movers+Shakers as exec creative director
Creative agency Movers+Shakers has appointed Mike Pierantozzi as executive creative director. In this new role, he will help guide the creative direction of Movers+Shakers’ socially-native campaigns. Pierantozzi will report to co-founder and chief creative officer Geoffrey Goldberg.
With nearly two decades of experience as a copywriter, creative director, and multi-platform storyteller, Pierantozzi brings a wealth of knowledge from his work with major brands including Kraft, Unilever, IBM, and Walmart. He has led the creation of award-winning campaigns for agencies like Red Tettemer, Ogilvy, The Brooklyn Brothers, TAXI, Saatchi & Saatchi, and most recently, Vayner, where he spearheaded culturally iconic work for Planters including “Death of Mr. Peanut.” He led the National Down Syndrome Society and Luvs account, whose “First Kid. Second Kid” campaign was awarded by the Effies, ADC, Clios and LIAs.
Outside of the office, Pierantozzi practices what he teaches brands. He’s gone viral multiple times on his own TikTok account, featuring comedic interactions with his son and a trombone. He’s accumulated 15K followers on TikTok.
“Mike brings a rare and awesome combination of deep social and platform experience, a keen eye for excellent storytelling, and a humble and kind approach to leadership,” said Goldberg. “Mike’s got a knack for turning brand stories into cultural movements, making him the perfect fit for Movers+Shakers. He’s got the kind of bold vision and attention to culture that fits perfectly with our mission to push creative boundaries and drive industry firsts. Plus, as a creator himself he has the innate ability to make people stop, laugh, and share--which is exactly what we’re about.”
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