Carol Reed's 1949 mystery is in many ways the Platonic ideal of Film Noir: moody and wet, off-kilter and yet so sublimely even. You can't play a sad song on a zither, yet Anton Karas' soundtrack is as jaunty as it is hauntingly soulless. Well, when it needs to be.
Roger Ebert once said that he envied those who had never seen The Third Man, because the experience of seeing it for the first time is such a joy. Pat gets that joy in this week's Lost in Criterion, while I get the joy of sharing my favorite film with a dear friend.
So if you want to hear me gush about an amazing movie for about an hour or so, give this week's Lost in Criterion a listen.
And watch The Third Man. You won't regret it.