robert krasker

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Friday, April 21 @ 10:15 PM
Two married strangers meet in a train station and fall in love.


Because tea-with-theo said The Third Man In The White Suit and I just couldn’t resist. :D

And because everyone knows how great Bob Krasker’s Third Man cinematography is, but I think Douglas Slocombe’s for TMITWS is just as bloody good and not praised often enough. 

The Third Man (1949, Carol Reed; Cinematographer: Robert Krasker)


Before we delve into the ins and outs of Robert Krasker’s milestone of noir cinematography, I’d like to take a minute to praise star Joseph Cotton, a man who shines in every single movie I’ve seen him in, from the underrated Gaslight to such iconic films as Citizen Kane.  Cotton is the perfect balance to Orson Welles’ theatrical bravado, delivering a subtle offhandedness, and the two are paired again in Carol Reed’s The Third Man, in which conspiracy is king, the dead rise, and black and white morality is not an understood concept.

Now, I don’t love The Third Man (I’ll take the incomparable Shadow of a Doubt any day), though I understand how some do, and when cinephiles are talking shop about noir, The Third Man is is the alpha to Kiss Me Deadly’s omega.  The movie just looks so seedy and dangerous, feels so filthy, the way a bar can sometimes feel right before it turns violent.  Krasker’s shots are murky and askew, as if screaming to the viewer - these men, these streets, they cannot be trusted!  Even nature is corrupt, the trees bordering this famous last scene in which Alida Valli’s Anna walks straight toward the lens, a one woman funeral procession, look like rotten, outstretched claws.  The movie’s climax is set in a sewer, the underworld actualized, its characters submerged for one more fruitless chase below the earth, which, after all, is the film’s only victor.

The Academy had to make some tough decisions that year in the black and white category, selecting Krasker’s work over John F. Seitz’s nightmarish cinematography of Sunset Blvd, or the dangerous sublimity of Milton R. Krasner’s All About Eve compositions.  Though by this period color film was becoming the popular mainstay, able to convey bright splashes of world vistas, elaborate costumes, and magnificent sets, there was still a need to show something else on screen.  For the dark vision still lingering in the public conscious from World War II, only black and white was truth, for what had been seen, and what could be seen on the horizon, was anything but colorful.


The chase through the sewers is not just a marvellous combination of acting, directing and cinematography, but an outstanding example of editing. From In Search of the Third Man (Charles Drazin):

A serious difficulty was Orson Welles’ failure to arrive in Vienna until long after he was due. It was decided as far as possible to double for him. Guy Hamilton (Assistant Director) was one of the people who acted as his stand-in. [Those are his fingers clutching the grate at the end.] He became adept at running in front of an arc light and sending a shadow scurrying down alleyway walls. To hide the fact that he wasn’t Orson Welles, he wore a big hat and a black coat, and Reed made him leave a coat-hanger in to bulk out his much slimmer frame. 

When Welles finally did turn up…he launched into a tirade, furious that he should be expected to work in such filthy conditions. The British crew…were rather taken aback but there was nothing they could do except watch him storm off. ‘Well,’ said Reed, 'it’s his first day, he’s nervous, and we’ve got so many other things to do. We will just have to build a sewer in Shepperton.’

Given his refusal to go down in the sewers there was really very little for Welles to do in Vienna. He 'had one day’s shot walking to the Prater wheel, and walking away from the Prater wheel,’ recalled Guy Hamilton, 'and I think I’m right in saying that was the sum total of Orson’s Viennese contribution.’ All the shots of him in the sewers took place many weeks later at Shepperton - with its more hygienic water supply.