Apr. 4th, 2009
I think this is my favorite scene in film basically ever.
If you've never seen The Third Man, it's about a man who visits Vienna thinking that his friend Harry Lime is dead. As you can see in this clip, not so much. The guy's alive and kicking and has been secretly following the main character everywhere.
When the light hits Orson Welles and he gives that "oh haha whoops the jig is up" smirk to Joseph Cotton, it makes me want to scream and tear my hair out over how gorgeous he looked back then. Even in 1949 Welles was an ass--he showed up to shooting 2 weeks late and the director had to do alternate shots with body doubles.
Still... I'd resurrect a young Orson Welles to see that expression in real life again.
P.S. Edit: I'm watching the 1944 version of Jane Eyre and I am in complete agreement with the uploader who says that "Mr. Rochester enters, gruffly played by an inexplicably sexy Orson Welles," except that I would change sexy to sexual. It's compounded by the fact that he stalks around the foggy moors wearing a giant cape that floats around him and shows off tight trousers. Yeah, it's full of cognitive dissonance.
I mean, even Joan Fontaine looks like she's about to either faint or is starting to maybe kinda think about having an orgasm in every scene she's in with him. That confused WTF IS GOING ON OH GOD look.
The best part has to be when Tjinder starts singing with the English children's chorus
Makin' the dope dope and the dope dope
And then they're
making the dope dope and the dope dope
The whole song is an anthem to something culturally cosmic and obscure and inherently cheerful, no matter how many brick walls will leave us for done for.
Handcream For a Generation is the only album where I have a strong love for each and every song, so much so that I have it on double set LP. It's from 2002.