In writing the previous post, on the use of Brief Encounter in numerous films, I learned that the British Film Institute once chose The Third Man (1949) as the greatest British film of all time. I was therefore happy to have a chance to see Carol Reed’s noir classic recently, on the big screen of the Prytania Theatre in New Orleans, in magnificent black and white.
And what do you know, there is a movie-in-movie scene. Holly Martins (Joseph Cotton), an American just arrived in post-war Vienna, finds himself investigating some shady doings. In this scene, accompanied by actress Anna Schmidt (Allida Valli), he is about to question the porter of an apartment building. However, it turns out that the porter is dead, and his little son points to Holly as being the killer. There ensues an almost comically low-speed chase, accompanied by the movie’s defining zither music, with the little kid somehow being the fastest pursuer.
Holly and Anna duck in to a movie theater, which inspired me to add a new tag to the blog: “On the run.”
As you’ve observed, we don’t see the movie, only hear it. That makes it hard to identify, even more so when (like me) you don’t understand German. A clue is the title on the marquee of the theater:
IMDB reveals that Maresi was indeed an Austrian film, released in 1948, and starring Maria Schell. The indefatigable Ben Zimmer has unearthed a plot summary (translated from the German by Google Translate): “An aging nobleman shoots his favorite horse, Maresi, who has sunk to the cab of a hawk, to spare him a dignified age – at least to him.”
Of course, movie continuity follows its own rules: the interior scenes might have been shot in a different theater or a sound stage, and the audio might have been from a different film.
So I appeal to speakers of German and/or scholars of Austrian film? What can you tell me about the movie that’s playing while Holly and Anna plot their next move?
Update: Hari List, who runs Bruttofilmlandsprodukt.net, a blog and podcast dedicated to Austrian film and TV, responded to my request for information on Twitter, where his handle is @HariLi. He reported that he was unable to find out anything about the soundtrack we hear when Holly and Anna are in the cinema.
It sounds “old”, as in bad speakers or gramophone. The dialogue is pretty basic, borderline nonsensical. It could be from an old movie that has been badly dubbed, but the dialogue stops when Holly and Anna talk and then resumes. Has to be a nondiegetic track, probably recorded just for that, which makes sense from the filmmakers standpoint. [“Diegetic music in a film or TV programme is part of the action and can be heard by the characters.”–Cambridge English Dictionary.] Also the audience smirks don’t fit, because nothing funny or in anyway emotional was said. Lastly, the movies listed out front: Irrtum im Jenseits is Michael Powell’s A Matter of Life and Death, Feuervogel is part one of the two-part cinema cut of the western series Miracle Rider (1936) with — as seen — Tom Mix. On top it probably says Glück muß man haben (You have to be lucky) …which is a German film from 1945, that premiered 1950 – so again some timeline issues but it says “our next movies”, so it’s an announcement. Vier Humoresken was probably an individual comedy shorts program. Btw the cinema still exists, but is a stage theater now.”
One thought on “‘Maresi’ (?) in ‘The Third Man’”
I have one more addition/correction to offer, concerning the google translation.
It’s almost fine, alltough the cab and hawk bugged me. I found the original text and would translate it as this:
“An aging nobleman shoots his favorite horse, Maresi, who has been degraded to work as a cab horse, to spare her from aging undignified – at least her.”
I found some other short synopses as well and pieced this plot summary together
An aging Baron (Attila Hörbinger, brother to Paul, who plays the porter in The Third Man), who gambled away (or: misinvested, could mean both) his estate and can no longer marry a young Countesse (Maria Schell), shoots his favourite horse, Maresi, who has been sold to work as a cab horse. Being a pre-war traditionalist, who thinks pulling carriages is beneath Maresi, he ends her life to spare her the shame and incites a scandal.
But the young noble woman is equally old fashioned and together they bond over the noble act and defend their love against the gossipping village and the world.
The movie also had an alternative title: ‘Der Angeklagte hat das Wort’ – ‘The accused (or: defendant) may speak’ (literally: ‘has the word’)