A yearlong project microanalyzing Carol Reed’s cinematic masterpiece The Third Man—in increments of 62 seconds each—the blog Still Dots caught the attention of audiences and critics worldwide. According to Indiewire, “What’s remarkable about projects like Still Dots . . . is the amount of variety, texture, and inclusiveness possible when the focus of a piece of writing, or any other work, is reduced by somewhat arbitrary constraints.” With the final installment #102, Matt Levine and Jeremy Meckler, interns in the Walker’s film/video department, wrap up the venture begun in December 2011. A free screening of the film is presented in celebration of the completion of this epic undertaking.
Ranked as the best British film of the 20th century by the British Film Institute in 1999, The Third Man blends decisive visual style, tremendous acting performances, and a complexly plotted screenplay—penned by Graham Greene—to produce a deceptively sweet cocktail of spies, lies, and murder in postwar Vienna. Notable for its on-location shooting, canted angles, and brilliant cinematography, it manages to make the city of Vienna a character as important as any of the actors. “Of all the movies that I have seen, this one most completely embodies the romance of going to the movies” (Roger Ebert). 1949, 35mm, 104 minutes.