‘Falling Headlong’ for the first time

Watch Headlong’s original video here.

I had spent the weekend in the countryside with limited access and was unable to watch Headlong’s arty new season teaser when it was first launched.

What I was able to acess was the attention it drew on Twitter and beyond. It was given a nod on A Younger Theatre, a frustrated but excellent blog post from Chris Unitt on where the company could have increased their reach, a spectacuarly off-the-pulse Guardian article and a blog post from Andrew Haydon where you can practicaly hear his head hitting the desk with every asterix and inverted comma.

I thought I’d “exploit the power of social media” for myself and record my first reactions to Rupert Goold’s “mini-film”.

I found myself musing that the video left me with a feeling of curiosity. Not a curiosity to know more, but to be told more.” On revisiting the Guardian article, I find that this is in direct opposition of Goold’s view that, “What people in a social media age want is not to be told about something but to discover it.” Just two people’s opinion. But what do you think?

The Third Man


The Third Man
UK, 1949    BFI Top 100 #1

The Third Man is a fast paced, funny and exciting little gem. Though the identity of the eponymous third man was a twist that I guessed at early on the unravelling of the tale is executed in a teasing fashion. Your impression of Harry Lime changes with each character you meet. Their relationship with the unfortunate American dictates your own views of the character.

The bit characters that appear are exceptionally detailed. They add a rich, distorted humanity to the crumbling post-war Vienna. I particularly like the character design for the ‘Baron’. Never again will we such a splendid bow tie and furs combo.

My only other encounter to date with Orson Welles is in Touch of Evil (1958) where in addition to an excellent performance he carries a rather lethal amount of bulk. In The Third Man it is an altogether more lithe chap we meet. He’s a handsome devil. Lime can be added to the long line of characters that grab my imagination by the neck and shake it into submission.

Smart and sneaky in equal turns, Lime is an incorrigibly charming terror you cannot help but have a grudging respect for despite the revulsion to their actions.

With stunning locations, detailed visual language and an startling modern opening montage the only part of The Third Man lacking is the relationship between Martins and Anna. Little intimacy appears between the characters; Anna’s extended mourning seems an impenetrable barrier between the two.  This is no real fault of Graham Greene’s superior skills as a storyteller but an inherent quality of film noire. The closing moment of the film does leave their relationship on a suitably bitter-sweet note.