🎦 The Third Man full movie HD download (Carol Reed) - Thriller, Mystery, Film-Noir. 🎬
The Third Man
Thriller, Mystery, Film-Noir
IMDB rating:
Carol Reed
Joseph Cotten as Holly Martins
Alida Valli as Anna Schmidt
Orson Welles as Harry Lime
Trevor Howard as Major Calloway
Bernard Lee as Sergeant Paine
Paul Hörbiger as Karl - Harry's Porter (as Paul Hoerbiger)
Ernst Deutsch as 'Baron' Kurtz
Siegfried Breuer as Popescu
Erich Ponto as Dr. Winkel
Storyline: An out of work pulp fiction novelist, Holly Martins, arrives in a post war Vienna divided into sectors by the victorious allies, and where a shortage of supplies has lead to a flourishing black market. He arrives at the invitation of an ex-school friend, Harry Lime, who has offered him a job, only to discover that Lime has recently died in a peculiar traffic accident. From talking to Lime's friends and associates Martins soon notices that some of the stories are inconsistent, and determines to discover what really happened to Harry Lime.
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The Trouble with Harry Lime
I initially felt a fool for not having seen "The Third Man" earlier. However, in retrospect, having now read most of Graham Greene's major works, and having received some keen insight into the back-story of producer Alexander Korda through Kati Marton's book "The Great Escape", I feel I was able to enjoy "The Third Man" even more for the staggering masterpiece that it is.

As a European/American co-production bankrolled by two legendary hands-on producers, David O. Selznick and Alexander Korda, "The Third Man" was masterfully crafted by director Carol Reed from a screenplay by British novelist Graham Greene. The film served as a pinnacle of the film noir movement and is a prime example of master filmmakers working with an iconic writer and utilizing an amazing cast and crew to create a masterwork representing professionals across the field operating at the top of their game.

Fans of Greene's novels need not be disappointed as the screenplay crackles with all that signature cynicism and sharp witted dialogue. Carol Reed's crooked camera angles, moody use of shadowing and external locations (Vienna, partially bombed out, wet and Gothic, never looked more looming and haunting) and crisp editing are the perfect visual realizations of Greene's provocative wordplay and often saturnine view of the world. Reed's brief opening montage and voice-over introducing us to the black market in Vienna is also shockingly modern, as it is that energetic quick-cut editing that has influenced directors like Scorsese to film entire motion pictures in just such a style. Also making the film decidedly timeless is the zither music score of Anton Karas, a bizarre accompaniment to the dark story that serves as a brilliant contradiction to what is being seen on screen.

The story of "The Third Man" slides along like smooth gin down the back of one's throat as characters, plot and mood meander and brood along cobblestone streets and slither down dark alleys in an intoxicated state. Heavy drinking hack writer Holly Martins (Joseph Cotten, doing an excellent Americanized riff on Graham Greene himself) arrives in post WWII occupied Vienna to meet up with his old pal Harry Lime (Orson Welles) only to find that Lime is reportedly dead, the police (headed by a perfectly cold Trevor Howard) don't seem to care, and Lime's charming broken-hearted mistress (Alida Valli, perfect as another Greene archetype) has been left behind. Of course, Martins can't leave well enough alone as conspiracy, murder, unrequited romance, and political intrigue ensue. Welles benefits greatly from being talked about for most of the film and appearing mostly in shadows spare for two scenes: the famous ferris wheel speech, and a climatic chase beneath the streets of Vienna through Gothic sewers. His top hap, dark suit, and crooked smile are the stuff of film legend.

The side characters, however, are what make "The Third Man" such a rich, rewarding experience. We're treated to small glimpses into the mindsets of varying people ranging from a British officer obsessed with American Western dime-store novels (of which Martins claims his fame) to an Austrian landlady eternally wrapped in a quilt going on and on in her foreign tongue as international police constantly raid her building and harass her tenants. The brilliance is that one needs no subtitles to understand her frustration. These added layers of character and thoughtful detail, hallmarks of Greene, set "The Third Man" in a class above the rest of film noir from the late 1940's era.

Make no mistake, "The Third Man" is arguably one of the most finely crafted films ever made. One's preference towards noir and Greene's world-view will shape how much one actually enjoys the film. For the sheer fact it has held up so well over the decades and has clearly influenced so many great films that came after it, its repeated rankings as one of the greatest motion pictures ever made can not be denied. With a good stiff drink in hand, and Graham Greene's collection dog-eared on my bookshelf, "The Third Man" is undoubtedly now one of my favorite films. Reed's closing shot of a tree-lined street along a cemetery and Joseph Cotten leaning against a car smoking a cigarette while Alida Valli walks right past him with that zither music score playing is one that has left an indelible mark on my memory and enriched my love of film as art.
One noir film that lives up to the hype
I've watched quite a few old noir/crime films by now, but The Third Man is the first one that really lives up to the genre's breathless descriptions given by its fans. It's sleek and sexy, well-shot, and lives in a morass of amorality. It's also tremendously fun to watch.

The key that makes The Third Man work where so many other "classic" crime films fail is pacing. It starts out slowly enough to draw the viewer into the uncertain world of post-war Vienna, and then slowly increases the pace of the twists and turns, while never being hard to follow. Its protagonist, a befuddled Western author, is a lot more sympathetic than your average private dick, which makes his descent into the underworld genuinely affecting. And of course, there's Orson Welles as the title role, which is pretty hard to beat.

Moreover, The Third Man doesn't disappoint on the idea front. It plays around with the ideas of truth, metafiction, and morality without ever coming to a definite conclusion. The rather sloppy climax is the only thing that keeps this from being a 10 out of 10, but even so it's thoroughly recommended, even for people who don't usually like old movies.
A Flawless Classic
This is a rare film that is flawless in every respect. It combines great acting and memorable characters with a fascinating story, taking place in an interesting setting and adding a creative musical score. "The Third Man" is remembered for many things - for Orson Welles' wonderful performance in his appearances as Harry Lime, for its wonderfully appropriate musical score, and for its nicely conceived plot surprises. Adding to these is Joseph Cotten's fine portrayal of Holly Martins, which holds the rest of it together - it is his character who initiates most of the action, and also through whom we view everything and everyone else.

The story starts, after a nicely done prologue, with Martins arriving in Vienna, and finding out that his friend Harry is not only dead but is accused of running a particularly destructive black market racket. Martins sets out at once to prove his friend's innocence, getting into an immediate scuffle with the police, and it seems at first to set up a conventional plot about clearing the name of a friend - but the actual story that follows is much deeper and much better. It is just right that Martins is an innocent who writes cheap novels for a living, and he gets a pretty memorable lesson in fiction vs. reality. There are some great scenes (the Ferris-wheel confrontation being as good a scene as there is in classic cinema) leading up to a memorable climactic sequence, and a good supporting cast, with Alida Valli as Anna being very good in complementing Lime and Martins. The setting in crumbling post-war Vienna and the distinctive zither score go very nicely with the story.

This is a fine, flawless classic, and while obviously belonging to an earlier era, it deserves a look from anyone who appreciates good movies.
Watched it last night. I was not engrossed, which surprised me. The main character is a writer of some sort, but he completely lacks imagination. He's entirely straight-forward, utterly lacking in the nuanced sophistication that makes for a good investigator. The motivations of many of the characters are dubious at best, such as the appearance of the Third Man. Orson Welles did fine, but the role is not as legendary and epic as we are lead to believe. Not seeing this film will not make one any less of a film connoisseur.

The camera-work, shadows, and atmosphere are to be commended. The actors other than Joseph Cotten are very good. Overall, it makes for a "so-so" film by today's standards. Some older films created tension quite well, but this film simply doesn't, which is probably a prerequisite for a thriller to succeed, no?
Easily the best Euro-Noir...
... and perhaps the best noir of all time.

I am reviewing the criterion collection version of this classic film - which is available via Netflix. I strongly recommend avoiding other versions - the transfers do not do this beautiful film and its unique soundtrack justice.

Carol Reed's the Third Man follows desperate pulp writer Holly Martins (Joseph Cotten) through the streets of post-war Vienna as he attempts to discern the truth about the death of his boyhood friend and would-be benefactor Harry Lime (Orson Welles). Lime was killed by a truck driven by his own driver on the very day that Martins arrived in Vienna to begin work with Lime on a prosperous business venture. The main witnesses were two shady Austrians and a mysterious third man who nobody seems able to identify.

As Martins digs deeper, he begins to understand the deep corruption of his new-found home through an adversarial acquaintance with a British military policeman (Trevor Howard) and slowly falls for Harry's similarly mysterious former lover, Anna Schmidt (Valli).

Cotten makes a rather unsympathetic character (Martins is a classic noir loser) sympathetic. In a role that is barely a cameo, Welles creates an unforgettable persona. Valli is remarkable. And Howard and the rest of the supporting cast are great. Despite the excellent cast, however, what makes The Third Man the great film that it is the combination of absolutely perfect noir cinematography, an entirely believable and compelling story set in exactly the right location, and tight, powerful, directing. And the unusual zither-dominated soundtrack helps to make the film unique even among noirs.

Like many of Kurosawa's best efforts, every scene of The Third Man is wonderfully framed and painted in stark contrasts, making the camera as much of a performer as any member of the cast. It's BAFTA award (best British film), Cannes Palm d'Or(Grand Prize), and Oscar (cinematography) are minor achievements in comparison to the film's lasting impact on its genre and on cinematography in general.
The best British film of all time, a unique masterpiece.
"I never knew the old Vienna before the war, with its Strauss music, its glamour and easy charm. I really got to know it in the classic period of the black market."

And with that brilliant opening voice over narration we are introduced to this landmark film, which in my opinion outdoes the Germans in its Expressionism. I've fallen in love with Carol Reed's masterpiece, The Third Man, which takes elements from classic film noir and German expressionism creating a timeless classic. To say this is the best British film of all time is an understatement, because it deserves to be considered amongst the very best the world has offered. Everything about this film is perfection, from the opening setting of the plot, to the iconic zither score by Anton Karas that accompanies it (which not in a million years I would've consider to fit this thriller, but it does), to the memorable Ferris wheel scene where Orson Welles delivers his famous "cuckoo clock" speech, to Orson Welles's spectacular entrance scene (the best in film history), to the spectacular chase scene through the sewers of Vienna, to the uncountable amount of Dutch angle shots that help build the tense atmosphere accompanied by an unprecedented visual aesthetic from cinematographer Robert Krasker who turns the evocative shadows into a character in this film, to Graham Greene's fantastic screenplay delivering on every twist, to the final long shot that ends the film in a magnificent and memorable way only adding to the romantic fatalism theme of the story. Every single decision made during the production of this film, even those they came across by chance, seems to have worked to perfection. This is not a case where you can say it's style over substance or vice versa, it's one of those rare films where style and substance come together to deliver a perfect visual aesthetic and an intriguing theme with memorable character.

The opening narration introduces us to postwar Vienna, a city of bombed buildings and piles of rubble that has been divided into four occupied zones by the victorious allies (British, American, Russian and French). It is a place where opportunists and racketeers have come to make a living in its widespread black market. This is where Holly Martins (Joseph Cotten), an American pulp novelist, enters the scene. He is broke, but has been invited by Harry Lime, a good old friend from his school days, to stay with him in Vienna. Upon his arrival, Holly discovers that Harry has been killed in a traffic accident. Being the mystery novelist that he is, Holly begins to talk to some of Harry's friends who witnessed his accident and discovers some inconsistencies in their stories. He reports these suspicions to Maj. Calloway (Trevor Howard), the man in charge of the investigation, but he quickly dismisses him and says he should return home. The Major believes it is best that Harry has died since he was a racketeer who caused many innocent deaths. Holly however becomes intrigued with the case after the porter of Harry's building (Paul Horbiger) tells him there was a third man involved in the scene, but who no one else accounts for. Holly also befriends and falls for Anna (Alida Valli), Harry's lover who had immigrated from Czechoslovakia, which gives him another reason to stay for a few more days to try to uncover the mystery of his friend's untimely death.

The film is so visually stunning (it's only Oscar win was for best cinematography) that at times people forget to mention how great Graham Greene's script actually is. He understood this post-war European world and how the black market worked because he himself was a former British spy. That is what makes the story so believable and gives the film its substance. Of course the style is what turns this into a landmark film with its clever shots playing with Dutch angles, lights, smokes, and shadows, its wonderful editing, and its amazing score, but the film has a great plot to go along with it as well as some solid performances. Joseph Cotten delivers a solid role as the lead hero who comes into this world as a naive child believing everything is black and white. He is flawed, he is a drunk who falls in love way too easy. Harry's friends all have faces who at least look very suspicious (Siegfried Breuer as Popescu and Erich Ponto as Dr. Winkel). And then there is Orson Welles himself who with less than 15 minutes of screen time steals the movie. He could've done so with his iconic entrance alone (delivering a perfect smile), which was gorgeously lighted, but he also delivers one of the most memorable quotes of the film as well. Alida Valli also delivers as the femme in this film and it all leads to an exciting finale. For all these reasons and many more which I've failed to put into words, I can affirm that The Third Man is a masterpiece. Let me end this review by citing Orson Welles's memorable speech:

"Don't be so gloomy. After all it's not that awful. Like the fella says, 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 that produce? The cuckoo clock. So long Holly."

fantastic film that takes place in postwar Vienna
Even today in Vienna, one can take the "Third Man Tour" (Der Dritte Man) except, of course, that Orson Welles wouldn't go into the Viennese sewers and those scenes were done in England. There were actual sewer scenes with a double. Never mind, it is still a magnificent black and white film 99% filmed in Vienna. Directed by Carol Reed, it stars Joseph Cotten, Orson Welles, and Alida Valli.

Western novelist Holly Martins (Cotten) comes to Vienna at the behest of his old friend Harry Lime, but when he arrives, he learns that Lime is dead after being hit by a car. He investigates and finds the circumstances very strange indeed, especially when learning there was a third man that helped carry Harry's body to the sidewalk, a man who has since disappeared.

He then meets Harry's girlfriend (Alida Valli). And he also meets a police officer in the British section of Vienna, Inspector Calloway (Trevor Howard), who tells him that Harry was a murderer and a racketeer, and it's better that he's dead. Holly is shocked and demands proof.

One of the most atmospheric films ever made, with its zither music, cinematography, and Vienna at nighttime. Then there's some brilliant dialogue, particularly the "cuckoo clock" speech made by Orson Welles.

The cinematography is particularly striking, with its angles, back lighting, and shadows on empty streets. And who can forget the man hidden in the doorway, when the light from an apartment goes on and shows his face - certainly one of the great appearances of a star in a film.

One feels Lime's presence throughout the film, though he only has five minutes of screen time.

Though none of these actors were the first choice to play their roles, they are all excellent.

There was a Third Man TV series in 1959 that ran for six years and starred Michael Rennie as Lime. In the series, Lime is a hero.

He's no hero in the movie, but it is a powerful story and film, never forgotten once seen.
A masterpiece of atmospheric storytelling
An American Pulp Fiction Novelist (Cotten) arrives in post World War II Vienna to accept a job offer from his old friend Harry Lime (Welles) and discovers that he has been killed in a mysterious accident.....and thus begins this superb film-noir. Graham Greene's screenplay (based upon his earlier novella of the same name) is majestically given life on the big screen by Director Carol Reed. What ensues is a remarkable blend of witty dialogue, clever chase sequences and possibly the greatest character entrance in the history of film. The amazing cinematography blends consummately with the haunting Zither theme music of Anton Karas, to create an eerily authentic Viennese street atmosphere.

The trio of actors; namely Valli, Welles and Howard turn in thoroughly convincing performances in their respective roles. However, the standout performance of the film is supplied by Joseph Cotten; one finds that he is so often underrated in the history of film. Nonetheless, he is wonderful as Holly Martins; a character that is thrust into a role as a drunken, and at times seemingly incompetent, amateur detective.

This is a film that builds a strong case to be considered the greatest English language film of all time, especially when one considers the manner in which it is able to combine the elements of superb characterization, expressionist style and suspenseful drama.
Carol Reed's flawless masterpiece and essential viewing for film buffs.
I like to consider myself as a somewhat cultured man in the world of cinema - I have engaged in many film delights for many different reasons; from the downright silly to the spiritually moving, non stop action to obscure art-house, gritty realism to total fantasy, sweeping epics to the blunt and insular.

The Third Man is my personal favourite movie of all time for one overwhelming reason - it's wry charm - which this film has in spades.

This is just a perfect film; every time I see those zither strings being plucked at the intro, I'm there in Vienna. The crooked camera angles of the streets, the brilliantly acted characters of Harry and Holly and their intertwining relationship, the dryness of Calloway, the absolute wit and grace of the script and of course, one of the most memorable scores in movie history all combine to create an incredible piece of film noir but with so much more humour, irony, tension and characterisation than others in its genre (not dismissing such other greats as Double Indemnity and Touch of Evil which are also superb).

So at the risk of sounding like a rabid fan, yes, I do believe this to be the greatest film of all time - and the ferris wheel scene should be more than enough evidence to prove this!

Perfect - 10/10
A noir journey through postwar Europe.
Graham Greene is one of the most acclaimed authors of the 20th century, and, unlike many such literary talents, he recognized the merits of film, and took work as a screenwriter for the British film industry, including several collaborations with producer/director Carol Reed, of which "The Third Man" is the most famous. Greene's works tend to be divided into two main genres: his meditations on Catholicism in the modern world ("The Power and the Glory", for example) and his work in the spy and crime genres, the category to which "The Third Man" belongs. It is also the high-watermark for director/producer Reed, though he would only earn his Best Director Oscar some two decades later with the musical "Oliver!" "The Third Man" is one of the great achievements in film noir, and, perhaps, in film in general.

Greene's path in researching the film is in many ways mirrored by the character he ended up creating, one Holly Martins (Joseph Cotten, a prolific actor of the era who never reached the level of recognition of Stewart, Grant, or Bogart); arriving in Vienna, Greene prowled the bombed-out streets and drank in the Casanova Club, talking with local officials. He was inspired by stories of postwar shortage, organized smuggling, and the interaction of the four great powers in the early days of the Cold War. Martins arrives, having been summoned by his prewar friend Harry Lime (Orson Welles, in what is, apart from Charles Foster Kane, his most famous role), only tot find on arrival that Lime has been mysteriously killed in a car accident. The local British security chief, Major Calloway (Trevor Howard) insinuates that Harry was a notorious racketeer involved in everything up to and including murder, and Martins, a writer of pulp novelettes about gunslingers, refuses to let that explanation stand. He delves deeper into Harry's world, from acquaintances such as Baron Kurtz (Ernst Deutch, who couldn't appear less trustworthy if he tried) and Dr. Winkle (Erich Ponto), who were both present at his death, and, most importantly, Anna Schmidt (Alida Valli), a Czech living in Austria on a forged passport provided by Lime to help her avoid repatriation to Soviet-held territory. Martins' first big lead? Witness reports that an unidentified third man was present at Lime's death.

"The Third Man"'s plot suffers from a case of what TV Tropes would call a 'Rosebud': the fact that the main plot twist is common knowledge because of the movie's notoriety (and, like the original Rosebud, Orson Welles is involved). We all know that Harry Lime isn't actually dead because he is due to appear and give him famous speech about cuckoo clocks (though Welles is listed in the opening credits, so perhaps it was never that big a secret). However, there is still plenty in the movie for the viewer to be surprised about, just as "Citizen Kane" retains its lustre.

The movie has several great performances, starting with Cotten as the 'very American' (in the worlds of Peter Bogdanovich) lead man, Alida Valli as Anna, Trevor Howard as Calloway, and an enjoyable comic turn from Bernard Lee (later M to the Connery, Lazenby, and Moore incarnations of James Bond) as Calloway's batman, a sergeant who is quite a fan of Holly's writing. The performance that everyone always ends up talking about is Welles, however, in what amounts to an extended cameo (two scenes, the second with basically no dialogue).

The other notable production components include the music, provided by Anton Karas on his zither string instrument, who was hired on the spur of the moment after impressing the director at a wartime party, and it was an inspired choice, though it may jar some people expecting more traditional noir stuff. The film is filmed in the actual postwar Vienna, still a place of ruined buildings, providing for a very high level of verisimilitude.
📹 The Third Man full movie HD download 1949 - Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard, Bernard Lee, Paul Hörbiger, Ernst Deutsch, Siegfried Breuer, Erich Ponto, Wilfrid Hyde-White, Hedwig Bleibtreu - UK. 📀