The story is by far not as remarkable as the atmosphere. The plot is set in post-WWII Vienna. Vienna is divided into four zones. The political tensions are evident in the story. Holly comes to Vienna to see his friend Harry. When he arrives, he is told that Harry is dead, killed in a car crash. Holly suspects there’s something more at play here than a mere accident. He meets Harry’s girlfriend, and talks to several of his acquaintance. Then the story takes a sudden turn. Things are not what they appear to be. Well, as I said, I wasn’t exactly engrossed by the story. There were plenty of other things to pay attention to. The weirdly fitting soundtrack is one of them. It could have been music for a comedy, but now, in this setting, it became something else. And the most striking aspect of the film is the way Vienna is depicted; a dark place of endless secrets, weird characters and pompous buildings next to the ugly-looking traces of war. Reed hits home the point by using jarring angles, tilted shots and events drenched in haunting shadows. In more than one scene, we see a face only partly lighted, otherwise remaining in the shadows. For this reasons, it is more than logical that the main character is a writer of pulp stories. The film itself is never excessive – always tasteful. Small details catch my eye; a restless cat, a screaming kid, a balloon salesman. And let’s not forget the grand finale, located in the grand-looking but mucky sewers. Great stuff, all the way, at least style-wise.
And yay for the ending scene! Very stylish. Very decent - and brave - choice.
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