The cities are full of women, middle-aged widows, husbands, dead, husbands who’ve spent their lives making fortunes, working and working. And then they die and leave their money to their wives, their silly wives. And what do the wives do, these useless women? You see them in the hotels, the best hotels, every day by the thousands, drinking the money, eating the money, losing the money at bridge, playing all day and all night, smelling of money, proud of their jewellery but of nothing else, horrible, faded, fat, greedy women… - Joseph Cotten’s iconic monologue from Shadow of a Doubt (1943)
250 Films in 2012 | 175 | The Third Man (1949)
► Favorite Films (24/50)
Orson Welles lists Citizen Kane as his best film, Alfred Hitchcock opts for Shadow of a Doubt, and Sir Carol Reed chose The Third Man—and I’m in all of them.
Joseph Cotten and Alida Valli in The Third Man (1949).
Joseph Cotten in The Third Man (1949, dir. Carol Reed)
Joseph Cotten, Orson Welles and Director Carol Reed
The Third Man (1949)
I think a big reason why I liked The Social Network is that the relationship between Mark and Eduardo is like the 21st century splitting image of Charles Foster Kane and Jed Leland. A brilliant egomaniac and his sensible, loyal best friend embark on an enterprise but lose each other on the way to success.
Citizen Kane (1941) | The Social Network (2010)
Joseph Cotten & Orson Welles on the set of The Third Man (1949, dir. Carol Reed)
85. Duel in the Sun ★★★
“And this is what the legend says - a flower, known nowhere else, grows from out of the desperate crags where Pearl vanished. Pearl - who was herself a wild flower sprung from the hard clay, quick to blossom and early to die.”
“I’m really honored to be part of this evening’s tribute to a man I’ve known and loved for so many years. Aside from the astounding impact he’s had on the theater, motion pictures and I suppose all forms of show business, he is completely and absolutely responsible for abetting and encouraging some of us to be become actors… If it hadn’t been for his interference, I could be very happily working for my uncle’s bank on Sycamore Street in Petersburg. I’ve never spoken before of this intrusion in my private life but now that I have the opportunity, let me say this to you Orson— thank you very much.”
— Joseph Cotten speaking at Orson Welles’ AFI Tribute (x)
