what a load off my mind
Crabbin greets the late Martins at the door with this line, warm but professionally effusive.
Mr Martins! What a relief to see you.The Third Man · 1949 — 第 12 / 17 章 · 2'39" · B2
Crabbin's literary evening turns into an ambush: the audience asks Martins about the stream of consciousness and James Joyce, and Popescu slips in a warning under the small talk — "I'd say stick to fiction. Straight fiction." Martins, halfway through a book based on fact, refuses to stop.
At Crabbin's cultural evening, Holly Martins is the guest speaker and the audience questions him about modern literature — the stream of consciousness, James Joyce. Martins answers with Zane Grey and admits his new book, The Third Man, is based on fact. Afterward Popescu appears and quietly warns him against mixing fact and fiction.
注目の表現
what a reliefall setall's well that ends wellstream of consciousness
このシーンの表現
writing that follows thought flow
An audience member solemnly asks Martins about stream of consciousness, aiming high art at a western writer.
Her novel reads like a stream of consciousness.
what a load off my mind
fully ready
a good ending fixes everything
busy working on
keep to
48 行のセリフに 20 件のメモ
what a load off my mind
Crabbin greets the late Martins at the door with this line, warm but professionally effusive.
Mr Martins! What a relief to see you.Link what and a so it sounds like one word.
Mr Martins! What a relief to see you.start to suspect
I was beginning to think something had happened to you.past perfect: The past perfect puts the feared event earlier than the worrying.
I was beginning to think something had happened to you.in the event that
I was frantic in case you hadn't got my message at the hotel.in case clause: The in case clause names the feared possibility behind his panic.
I was frantic in case you hadn't got my message at the hotel.The second t in hadn't often drops into got.
I was frantic in case you hadn't got my message at the hotel.fully ready
Leading Martins in, Crabbin says everything is ready, eager and a little self-important.
We're all set for a wonderful meeting.a good ending fixes everything
Crabbin ushers the audience in and warms the room with a Shakespeare proverb, grand and slightly smug.
Well, here we are, ladies and gentlemen. All's well that ends well.intended to say
Yeah, well, I... I suppose that is what I meant to say.writing that follows thought flow
An audience member solemnly asks Martins about stream of consciousness, aiming high art at a western writer.
Do you believe, Mr Martins, in the stream of consciousness?Link in and the so it sounds like in-na.
Do you believe, Mr Martins, in the stream of consciousness?mainly shaped by
What author has chiefly influenced you?noun clause: The what-clause serves as the object of wrote, naming the genre.
We all know perfectly well Zane Grey wrote what we call "westerns."busy working on
Someone politely asks whether Martins is busy on a new book; engaged on keeps it formal.
Can I ask, is Mr Martins engaged on a new book?quite risky
I'd say you were doing something pretty dangerous this time.quite — A casual intensifier; rare in formal prose.
I'd say you were doing something pretty dangerous this time.keep to
Popescu smiles as he tells Martins to stick to fiction, advice that draws a line he must not cross.
I'd say stick to fiction. Straight fiction.discard a whole book
Haven't you ever scrapped a book, Mr Martins?thrown out — Casual and blunt, harsher than give up.
Haven't you ever scrapped a book, Mr Martins?The scene works as comedy and as threat at the same time. Crabbin's earnest audience wants a serious novelist and gets a man who writes westerns, and the gap between their questions and his answers — the stream of consciousness meeting Zane Grey — is the film's joke at the expense of cultural pretension. But under the laughter runs the plot. Popescu, the man who helped carry Lime's body, turns up at the lecture and uses the cover of literary advice to deliver a warning: "I'd say you were doing something pretty dangerous this time." He urges Martins to keep his book pure fiction, which is really an instruction to stop digging. Martins refuses with a line of his own — he is too far along with the book — and the refusal is what makes him dangerous to them.
Well, here we are, ladies and gentlemen. All's well that ends well.Crabbin's cheery opener: he treats the evening as finished business, which is the same self-satisfied tone the film quietly mocks.
Yeah, well, I... I suppose that is what I meant to say.Martins' floundering reply to a literary question, offered with a shrug, which shows how out of place he is among the cultured guests.
Do you believe, Mr Martins, in the stream of consciousness?The question that exposes the gap: the audience expects high modernism, while Martins has come to write and talk about cheap westerns.
We all know perfectly well Zane Grey wrote what we call "westerns."The polite put-down: the speaker names the genre Martins writes and by so doing files it away as something a little beneath them.
I'd say you were doing something pretty dangerous this time.The warning beneath the flattery: Popescu praises Martins' book only to tell him that the research has made him dangerous.
I'd say stick to fiction. Straight fiction.The instruction spelled out: drop the true story and write pure invention, which means stop asking what really happened to Harry.
Because he is asked which author influenced him most. As a writer of westerns, he names Zane Grey, with the result that the cultured audience laughs at him.
He warns him that mixing fact and fiction is dangerous. He wants Martins to stop writing a book based on real events and to stick to pure fiction.
It is a literary style that follows the flow of a character's thoughts. The question is meant to sound learned, and Martins has no idea how to answer it.
Because he is too far along with the book to stop. He says he is too deep into it, which shows he will keep investigating rather than be frightened off.
They find him amusing rather than impressive. His joke about Zane Grey and his awkward answers amuse them, and Crabbin treats it all as a successful evening.
次のチャプター · 第 13 章cap and bellsCalloway Explains the Penicillin Racket
第 1 章racketeerCalloway Exposes Harry Lime
第 2 章hunt someone downMartins Checks Into a Military Hotel
第 3 章be up to somethingKurtz Feeds Martins a Cover Story
第 4 章post-mortemMartins Looks for the Girl
第 5 章what difference does it makeMartins Visits Anna After the Funeral
第 6 章up to no goodMartins Learns About the Third Man
第 7 章get to the bottom ofCalloway Confiscates Anna's Papers
第 8 章come to the pointMartins Questions Dr Winkel
第 9 章upside downCalloway Interrogates Anna Schmidt
第 10 章break the rulesMartins Confronts Popescu at the Club
第 11 章look inMartins Tells Anna to Love Again
再生中 · 第 12 章stream of consciousnessPopescu Warns Martins at the Lecture
第 13 章cap and bellsCalloway Explains the Penicillin Racket
第 14 章in your imageMartins and Anna Argue About Harry
第 15 章a dead man walkingCalloway Tells Anna Harry Is Alive
第 16 章get rid ofHarry's Speech on the Ferris Wheel
第 17 章cut you inHarry's Cuckoo Clock Speech