Hello, my name Justin the Cluor, who here today with Will Sloan, and you know what the fellow said.

In Italy, for 30 years under the Borgias, they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance.

In Switzerland, they had brotherly love, they had 500 years of democracy

and peace, and what did they produce? The cuckoo clock. You did not do that in an Orson

Wells voice. I don't know if I... I don't know if I can do an Orson Welles voice.

That sounded like your sexy bedroom voice. What is the difference, really? Don't you wish you could sound like Orson

Wells in the bedroom? Of course. So today, we are not talking about Orson Welles, but we're talking

about the man who directed the film. And that quote comes from, Carol Reed. Best known today as the

director of the third man and also, I guess, as the Oscar-winning director of Oliver.

I don't think people bring that up very often.

People don't really think of Oliver as a movie that was directed by somebody, do they?

I don't think people think of Carol Reed beyond the director of the movie that we probably think Orson Welles directed.

And, you know, it's interesting.

I watched the criterion introduction to the third man by Peter Bogdanovich.

And Bogdanovich opens it by saying that the third man is one of the greatest non-Oture

films ever made, which is a bit of a backhanded compliment.

And also patently untrue.

I mean, maybe if Peter Bogdanovich has seen no other

Carol Reed film, that would be a truce to him. But in everything I've read about Carol Reed,

in the documentaries I've seen, this is the thing that keeps coming up over and over again,

that he wasn't an autour, that he was a craftsman, and that otorist critics have always had

a hard time with him.

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