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.The Third Man · 1949 — 第 14 / 17 章 · 2'38" · B2
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.
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.
注目の表現
mixed upin your imagefor heaven's sakepreach wisdom
このシーンの表現
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.
involved in something shady
an exasperated plea
lecture me about life
a cheap, mercenary writer
discover the truth
35 行のセリフに 20 件のメモ
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.have known someone for
I knew him for 20 years. At least, I thought I knew him.mock someone
Suppose he was laughing at fools like us all the time?idiots — Casual and insulting; not to someone's face.
Suppose he was laughing at fools like us all the time?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.lecture someone
- He was Harry. - Well, don't preach wisdom to me.as though
You talk about him as 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.grow to love someone
I'm just a hack writer who drinks too much and falls in love with girls.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.call someone
If you'd rung me up and asked meunreal 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 meLink rung, me and up into one run.
If you'd rung me up and asked meWouldn't have usually reduces to a single blurred run.
were you fair or dark or had a moustache, I wouldn't have known.no matter who
Whoever killed him, there was some sort of...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.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.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.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.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?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.
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.
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.
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.
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.
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.
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.
次のチャプター · 第 15 章a dead man walkingCalloway Tells Anna Harry Is Alive
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
第 12 章stream of consciousnessPopescu Warns Martins at the Lecture
第 13 章cap and bellsCalloway Explains the Penicillin Racket
再生中 · 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