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An American pulp writer arrives in post-WWII Vienna only to find that the friend who waited for him is killed under mysterious circumstances. The ensuing mystery entangles him in his friend’s involvement in the black market, with the multinational police, and with his Czech girlfriend.

Pope Julius is eager to leave behind works by which he will be remembered. To this end he cajoles Michelangelo into painting the ceiling of the Sistine Chapel. When not on the battlefield uniting Italy, the Pope nags Michelangelo to speed up his painful work on the frescoes.

“It wasn’t a particularly good story, but I liked the atmosphere of Berlin after the war, and I wanted to work again with James Mason.” Thus did director Carol Reed explain his decision to return to thrillers with The Man Between. Unfortunately, political conditions forced Reed out of Berlin before shooting wrapped, compelling him to complete the picture in the studio. Even so, the story of East Berliner Ivo Kern (Mason) who rescues Susanne Mallison (Claire Bloom), a British woman trapped in the Soviet Zone, is a minor masterpiece of suspense. Despite great danger to himself, Kern takes it upon himself to escort Mallison back to her family in West Berlin. After a daring dash through the countryside, the seeming impossible is achieved—but only through a conspicuous act of self sacrifice. Never completely satisfied with The Man Between, Carol Reed grudgingly admitted “It made back its money.”

Tino Orsini has learned the trapeze from his father but he travels to Europe to seek out Mike Ribble, one of the few men who has managed to complete a triple somersault. Ribble no longer works the trapeze and now walks with a cane after a nasty fall left him a cripple. Orsini convinces him to act as his catcher and all is well until the gold digging Lola, who’ll do just about anything to become part of a major circus act, arrives on the scene. Her presence creates friction between the two men and puts in doubt whether Tino will ever accomplish the elusive triple.