An excellent article. I especially liked your description of WENT THE DAY WELL? as "a parable about the necessity of constant vigilance in the face of illusory domestic tranquility" (with that in mind, I begin to see John Milius' RED DAWN as a variation on Greene). What I remember most strongly from the movie (I saw it more than five years ago, so correct me if I'm wrong), is the semi-horror scene of a quaint old lady reaching for an axe. That's one of the very few instances of sadistic complicity with a character to have entered Greeneland (that I can think of).
For me, the movies based on Greene's prose are mostly about rejection and self-pity; they rehabilitate the latter as a valid form of self-knowledge. Holly Martins gets rejected and/or betrayed by Valli (straight lover figure) & Welles (gay lover figure) & Howard (father figure) in THE THIRD MAN; the little boy gets rejected and betrayed by Ralph Richardson (both father & lover figure) in THE FALLEN IDOL, and Thomas Fowler gets rejected by his lover in THE QUIET AMERICAN. The way all these characters despair after realizing their abandonment has always seemed to me a potent metaphor of a religious mind at war with itself: that's what happens when someone truly devout no longer finds the religious impulse they have relied on forever in their lives.
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