MusicThe zither music was specifically mentioned by Greene as one of theelements in the final shot which made it so successful. It is the only soundheard from the time Holly takes up his position at the wagon, waiting for Anna.When only music is heard for so long a period, that in itself can serve as anincreasingly unmistakable signal that the dialogue in the film is over and thatthe film itself is only moments away from its conclusion. This is yet anotherclosural device, cushioning the moment of imminent separation from the film andhelping us to let go of the fiction. If you believe as I do that Carpenter is right about the implicit value systemof the film, and that within the framework of the fiction as Greene and Reedhave defined it, Martins does what any decent person would do in his situation,there is still the question of the ending to contend with, since in thiscontext, the ending appears entirely unfair. And if that is the case, thenwhy do we like it? What we have then in the final 66 seconds of the film is a shot which clinchesan inevitable and necessary outcome yet does so in a way that is utterlyunexpected. In other words, the conclusion of the story is experiencedas the fulfilment of an inevitability, while the cinematic discoursewith which the story is concluded takes us by surprise. This unique interplayof inevitability and surprise is just one of the properties of the ending thatmake it unforgettable. Sarris, Andrew. "The Stylist Goes to Hollywood. An Analysis of Carol Reed'sWork for the Cinema (Part II)," Films and Filming 4, 1 (October 1957),pp. 11-12, 30.

Falk, Quentin. Travels in Greeneland. The Cinema of Graham Greene.London & New York: Quartet Books, 1990; orig. pub. 1984. When she finally walks past Holly, without even glancing in his direction, weperceive her behavior as the fulfilment of an inevitability, the enactment of anecessity, confirming our expectations even more fully than we had imaginedpossible. (This did not prevent us from hoping, all the time, that somehow shemight still accept Holly, though we knew - as he did - that it would neverhappen.)good singing and nice playing. Unfortunately, nothing more except this all...but it's enough if you just want to have an hour of If people tell me: "I want to be a film director," I say, "You don't need to goto film school. Just watch The Third Man 100 times. [15] Brian McFarlane, " The Third Man: Context, Text andIntertextuality," Metro Magazine 92 (Summer 1993), pp. 16-26. Other critics, though adopting a more moderate stance, followed Sarris' lead inviewing the ending as in some sense either deserved by Martins or enhancingLime's status in our eyes. They include Voigt (1974), [6] Adamson and Stratford (1978), [7] Palmer and Riley (1980) [8] and Moss (1987). [9] There are two weaknesses to this band. The first and strongest weakness would be the songwriting or

THE THIRD ENDING is that kind of band (at least, to me), that is good whilee it's playing. But when the music's over you has The self-titled debut is melodic, approachable and hard-edge. The metallic or alternative impressions are hardly severe as to obscure the new-wave affection, the powerful instrumentality, some spacey drops of style or the quality flexible songwriting. Playing elegant acoustic-styled guitar work or mixing songs of genuine flair and symbols, it's all a third-wave interesting progressive movement. Center and focus of attentionFrom the time Anna first appears in the distance until about 40 seconds intothe shot when she begins to veer to our right, she occupies the center of thescreen and is also the primary focus of our attention, though we occasionallyglance over to Holly, to watch him watching and waiting for Anna. Unfortunately, Assane knows the only way he can ensure a safe and quiet life for his family is to sacrifice himself. Read on to find out how Assane pulls off his most impressive heist yet, and how he finds himself in prison at the end of the season. Who is the man at the end of Lupin Part 3?With determination, Yoonseul visits the bakery where Jun works every afternoon to buy bread. Although, the latter ignores him at first, Yoonseul is finally able to sway him and gets closer to Jun in a matter of days. Although in his head, he believes he is just doing it for the sake of ending dreams, his actions suggest otherwise. Soon his friend start feeling if he is dating someone but Yoonseul remains oblivious to his own feelings.

varied, powerful guitar work (from slide-guitar to heavy riffs and sensitive soli). Listening to The Third Ending, Rush comes to my mind due to the dynamic, clear and modern sound and Dream Theater because of the heavy guitar riffs. My highlights are Can You Hear Martins attends Lime's funeral, and waits by the side of the road to speak toLime's mistress. In one of the most memorable endings ever filmed, the girlwalks deliberately past Martins, into the camera and beyond while Martinslights a cigarette to conceal his discomfiture. Suddenly, all the disquietingelements in this thriller fall into place, and new layers of meaning rise abovethe surface. Holly Martins has been repudiated by Reed and Greene as well as byLime's mistress. Having been torn between a personal loyalty to Lime and a moral obligation tohelp the authorities arrest him, Martins finally allows his social conscienceto take precedence over personal considerations, and that - according to Sarris- is what justifies an ending in which Martins is duly punished for hisbetrayal of Lime: "The point that Reed and Greene make [...] is that moralresponsibility is personal rather than social, especially in a world that hasgone awry " (p. 12).the movie-makers seem convinced of the ineffectuality of goodness, whose pale,limp passivity is contrasted throughout with the striding vigour of evil, atonce cunning and robust [...] Predictably, Anna prefers the memory of Harry tothe reality of Martins (pp. 184-185). While virtually everyone who writes about The Third Man hails the endingas one of the most mesmerizing in the history of the cinema, those commentatorswho interpret Anna's walking past Martins at the end generally view itas an expression of the filmmakers' negative judgment of Martins. In otherwords, the ending is seen by a number of commentators as appropriate andsatisfying because it is precisely what Martins deserves! The most extremeinterpretation of this kind was proposed by Andrew Sarris (1957): compelling with lush keyboards (frequent violin-Mellotron sound) to prog-metal-like atmospheres featuring propulsive drums and Earlier in the same scene, Holly tries to interest Anna's cat in playing withhim, but the cat jumps off Anna's bed, totally uninterested in Holly, whoremarks: "Not very sociable, is he." Anna then replies, "No, he only likedHarry." Although this bit about the cat was added primarily as a way of lettingus know some moments later that the man waiting below in the doorway - againstwhose shoe the cat snuggles - is none other than Harry, it also expresses in asymbolic fashion the hopelessness of Holly's position in relation to Anna'slife.