How does 'The Third Man' use Composition, Cinematography and Mise en Scene with the sewer scene?

The Third Man (Sewer Scene) analysis

The framing within this still image uses vanishing lines to great effect, giving the audience unanswered questions and thoughts: that they wish could be answered by peering around the corner. As well as the angle and height adding to the assumption that we aren’t looking with a perspective of a person, the wide shot captures the vast space of the sewers: which wouldn’t happen if we were looking from a perspective. Furthermore, the wide shot can also signify the possibilities for men in this time, a metaphor for how no one journey is the same as the others. The difference of height in the scene, with the corridor above, and the tunnels greatly enforces this interpretation. Moreover, the darkness of the room conveys that the possibilities in that time were evil/untrustworthy, especially how sharp and long the shadows of the tunnel entrances are. On the other hand, the size of the man within the vast space is a metaphor for how insignificant he is within this post war world. Finally, this scene is inspired heavily by German Expressionism, with the high angle shot. The lighting in the shot enhances this influence, as it makes the angles and lines within the shot; sharper, straight and parallel with more of them vanishing. It adds to the sense of hopelessness that the audience feels for the character, as his choices will lead to danger.  

The framing within this still emphasises the sense of labyrinth in the sewers, as it shows a few directions where the characters could be running towards: and those of which that are going in a complete different direction, confusing the audience. With the shadow of the main character from the tunnel, it creates a sense of uncertainty of the direction in which the character is moving. The unorthodox shot allows there to be two scenarios taking place/ being captured in one shot. The diagonal angle of this shot is the reason as to why everything has been encaptured: showing the shadow in the bottom right, with the characters following in the top of the screen. The clothes of those characters on the railings gives the impression that they are not normal police, maybe special forces/private investigators: as they don’t have the normal attire on for an officer in post war Vienna. But with the corruptness that was also happening in that time period, they might have nothing to do with the police: could have their own reasoning as to why they’re chasing the main character: with guns. With the addition of the weapon, it screams threat to the audience, that if this man gets captured he will die: adding another level of tension to the shot. 

The framing within this still image is clearly heavily influenced by German Expressionism; with the parallel lines all pointing in one direction, single light source and untrustworthiness about the entire frame. The single light source can raise a few different interpretations, first of all: it could be a symbol for freedom and hope for this character, that they have longed for. Alternatively it could resemble the end for this character, as when you die it is said that you see the light at the end of the tunnel. Also, this shot use convergence to good effect: as the wide tunnel looks to be closing around towards the end- possibly even getting smaller. This then converges into the light in the ‘white room’ that could be ‘freedom’. Furthermore, with the wide shot of this still, it allows for a lot of nothingness to be shown, i.e. brickwork- this creates the sense of loneliness and abyss for this character. Finally, the clothes of this character shows that they could be rather important, with connotations of a well off person: trench coat and hat. Overall, the still conveys to the audience that maybe this character finally has a bit of hope for his future, that Vienna in 1940 onwards, eventually will have some hope.

Within this still it captures the pain that this character is facing, even though he has made it this far to freedom: there’s no way in which he can beat the final hurdle. The concept of this still can show the health in which the character is in, even though we know as we have seen the clip, those that only see this still image can assume that he is in physical pain. This can be represented in the fact that he cannot move the drain cover, stretching his hands out: hoping for a miracle. Furthermore, the low angle of this shot allows the audience to visualise what this character could see if he finally makes it to freedom from his imprisonment. The perspective of this shot, also adds emphasise to the connotation of imprisonment- as prisoners can generally see freedom from outside their jail cell, like this character can through the drain cover. This entire frame could be a metaphor for post war countries, that even though everybody longs for freedom from the hell of war: the future is not full of joy and happiness, there will be a large struggle. Finally, with only a few dimly lit sections of this frame, it can show that the world this characters craves freedom from is; dark, evil and untrustworthy. 

What does the location of the sewers of Vienna in 1947 add to the meanings?

The sewers that were used in filming the ending of ‘The Third Man’ have many different interpretations, as to what their overall meaning and relevance was to the movie. From a simple viewpoint, they are seen to be a great place to film from many different angles and heights, to create confusing and disorientation with the character and audience. If you were to look deeper into the reasoning behind using this setting: it could be seen as a metaphor for ‘the evil beneath Europe.’ As there was so much mistrust and paranoia in 1947, the metaphor of people hiding underground running from the law: being Germany being run out of power and having to go into hiding after being beaten in the war.