The Third Man · 1949 — 第 14 / 17 章 · 2'38" · B2

Martins and Anna Argue About Harry, Explained:in your image

After learning what Harry Lime really did, Martins and Anna argue over who he was. She insists "Harry was real," while Martins offers a bleak view of human nature and belittles himself: "I'm just a hack writer who drinks too much and falls in love with girls." Anna says she is leaving Vienna.

あらすじ

Martins and Anna Schmidt sit in her flat and quarrel about the dead man they both cared for. Anna will not let Harry be reduced to his crimes, while Martins, who has learned more than he wanted, mocks his own trade — he is just a hack writer. Anna says she is leaving Vienna, and Martins asks, half joking, whether he ever had a chance with her.

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注目の表現

mixed upin your imagefor heaven's sakepreach wisdom

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このシーンの表現

in your image

shaped to match you

At her limit, Anna tells Martins to stop remaking Harry to fit his own picture.

Don't make your children in your image.

このシーンの他の表現

  • mixed up

    involved in something shady

  • for heaven's sake

    an exasperated plea

  • preach wisdom

    lecture me about life

  • hack

    a cheap, mercenary writer

  • find out

    discover the truth

このシーンのメモ一覧

35 行のセリフに 20 件のメモ

表現 · B2be mixed up in something

involved in something shady

Martins admits he knew Harry was involved in something, but never in anything this bad.

I knew he was mixed up, but not like that.
表現 · A2know someone for a time

have known someone for

I knew him for 20 years. At least, I thought I knew him.
表現 · A2laugh at someone

mock someone

Suppose he was laughing at fools like us all the time?
スラング · B1fools

idiots — Casual and insulting; not to someone's face.

Suppose he was laughing at fools like us all the time?
表現 · B2make someone in your image

shaped to match you

At her limit, Anna tells Martins to stop remaking Harry to fit his own picture.

Oh, please. For heaven's sake, stop making him in your image.
表現 · B2preach something to someone

lecture someone

- He was Harry. - Well, don't preach wisdom to me.
表現 · B1as if something happened

as though

You talk about him as if he had occasional bad manners.
文法 · C1as if he had occasional bad manners

unreal as if clause: The past tense after as if signals it is not the real picture at all.

You talk about him as if he had occasional bad manners.
表現 · A2fall in love with someone

grow to love someone

I'm just a hack writer who drinks too much and falls in love with girls.
スラング · C1hack

a mercenary writer — Insulting, but fine in self-mockery; avoid for others.

I'm just a hack writer who drinks too much and falls in love with girls.
表現 · B1ring someone up

call someone

If you'd rung me up and asked me
文法 · C1If you'd rung me up and asked me

unreal past conditional: If plus had done describes a past that never happened, answered by wouldn't have.

If you'd rung me up and asked me
発音rung me up

Link rung, me and up into one run.

If you'd rung me up and asked me
発音wouldn't have

Wouldn't have usually reduces to a single blurred run.

were you fair or dark or had a moustache, I wouldn't have known.
表現 · B1whoever does something

no matter who

Whoever killed him, there was some sort of...
表現 · A2find out something

discover the truth

Anna says knowing more does not make a person someone else; find out covers the facts coming to light.

A person doesn't change because you find out more.
文法 · B2because you find out more

reason clause: The because-clause gives the reason the change does not happen, under the negative.

A person doesn't change because you find out more.
表現 · B1have a splitting headache

a pounding headache

Worn down by Martins's endless talking, Anna blames a splitting headache, close to snapping.

Look. I've got a splitting headache, and you stand there and just talk and talk and talk.
発音and talk

The and reduces to ən; the repeated talks speed up.

Look. I've got a splitting headache, and you stand there and just talk and talk and talk.
表現 · B1stand a chance

have any chance

Martins answers his own question, conceding he has no chance with Anna at all.

I wouldn't stand a chance, would I?

「Martins and Anna Argue About Harry」を読み解く

What's really going on

The scene is the emotional centre of the film, and it is an argument about how to remember someone who turns out to have been a criminal. Anna refuses to let the investigation define Harry: "A person doesn't change because you find out more." For her he was a person, not a case. Martins, who has just learned the worst, cannot share that comfort — "I knew him for 20 years. At least, I thought I knew him" — and turns his bitterness on himself, calling himself a hack writer who drinks too much. What holds the scene together is that neither of them is simply right. Anna's loyalty is not blindness, and Martins' disillusion is not proof. When she says she is leaving Vienna and he asks whether he would have stood a chance, the film lets the personal and the moral overlap, and the joke they share is the only answer it offers.

Theme

Death & griefTwo people who loved the same dead man disagree about whether knowing his crimes should change what they felt for him.
BetrayalLearning what Harry did forces Martins to reconsider twenty years of friendship, and the betrayal is felt as grief rather than anger.

このチャプターで学べること

  • Self-mockery can be a shield in an argument.
  • As if with a past tense hints the opposite is true.
  • Repeating a verb shows patience running out.
  • Real against just restores a person to full size.

発音のポイント

  • rung me up — Link rung, me and up into one run.
  • wouldn't have — Wouldn't have usually reduces to a single blurred run.
  • and talk — The and reduces to ən; the repeated talks speed up.
I knew him for 20 years. At least, I thought I knew him.

The loss of certainty in one line: twenty years of friendship now seem to have been spent on someone he never really knew.

Suppose he was laughing at fools like us all the time?

The thought that stings most: perhaps Harry was always laughing at the decent people who trusted him.

Oh, please. For heaven's sake, stop making him in your image.

Anna's exasperated plea: she will not let Harry be remade to fit Martins' ideas of what a person should be.

Harry was real. He wasn't just your friend and my lover.

The heart of her defence: Harry existed as a real man with faults and appetites, not as a symbol of anyone else's ideals.

I'm just a hack writer who drinks too much and falls in love with girls.

Martins' self-portrait, offered as fatalism: he drinks, he falls in love, and he is not the serious writer everyone wants him to be.

A person doesn't change because you find out more.

Anna's moral position: new facts about Harry's crimes do not erase the person she knew and loved.

Look. I've got a splitting headache, and you stand there and just talk and talk and talk.

The scene's release valve: Martins, exhausted and hung over, complains that talking about Harry never stops.

このシーンについての質問

Why do Martins and Anna argue about Harry?

Because they remember him differently. Anna knew him as a lover with faults, while Martins has just learned about his crimes and cannot reconcile the friend with the criminal.

Why does Anna defend Harry?

Because she knew him as a man, not as his crimes. She refuses to let either of them reshape him into something more respectable, and insists that knowing more does not change who he was.

What does "splitting headache" mean?

It means a headache so bad it feels as if the head is splitting. Martins uses it to complain that the talk is going on and on while he feels terrible.

What does Martins ask Anna at the end?

Whether he would have stood a chance with her. He says she once told him to find himself a girl, and asks half-jokingly whether he ever had any chance.

Why does Martins call himself a hack writer?

Out of self-mockery. He drinks too much and falls in love with girls, and he admits he is not the serious author the lecture audience expects.

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