🎦 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.
Type Resolution File Size Codec Bitrate Format
1080p 1440x1080 px 8134 Mb h264 448 Kbps mkv Download
DVD-rip 512x384 px 701 Mb mpeg4 931 Kbps avi Download
A Timeless Toy of Fateful Accident
The Third Man is one of that smattering of pictures that have become the epitome, not just a movie that would continue to inspire countless other films but a paradigm that would embed itself deep within the id of a massive amount of viewers, counting people who've never even seen it. The first time you do, your encounter is sprinkled with little jolts of recognition, lines and scenes and moments whose resonance have already made their way to you intermediately.

Although both Greene and director Carol Reed were British, the perspective of this pinball machine of a movie feels very American, a detail that's only partially clarified by the presence of Cotten and Welles. Post-war Vienna characterizes Europe's remains. It's thick, for sure, with actual remains, though the diversely twisting and regal structural design of its more practical edifices looks devastated by being rendered worthlessness. Similarly, most of the Europeans we see are remarkably played by an ensemble of Austrian and German character actors, who correspond superbly with the mixed doubts and disdain of the inexperienced American, Holly Martins, who lumbers through the alleys, down the holes, up the ladders, seemingly a toy of fate, but one who appears to usually break even. The American Martins is upfront, yet surrounded by Europeans, and their paths oscillate between confrontation and tiptoeing, like minor cultural traits represent an inherent bylaw.

Welles is, sure enough, the mind-body dualism of the story. His character is mentioned in each scene, in addition to the title, and has the most hands-down unforgettable lines in the script. Moreover, his interactions with Cotten, a recurrent performer in his directorial work, take on Welles's distinguishing metrical hallmark: mood intersecting and colliding with figure of speech, lines treading on lines in a persistent roundabout of broken tides.

Reed, a director far too obscure in the US, made outstanding films both preceding and following this one. Reed was amply accommodating to offer a noteworthy argument against the auteur theory. The Third Man is constant with his superlative form, wheedling a taut drama with penetratingly illustrated characters, in a locale so defined it may too be regarded among the cast.

The Third Man is such a hysterically visual event that it's easy to overlook what a petite, intuitive film it basically is. Think about how Anton Karas, without whose score the picture wouldn't be remotely the same, was discovered on location, playing in a restaurant. That kind of fortuitous find, during production, of a deep-seated constituent of a movie would've been tough if not unimaginable in Hollywood even then. The Third Man is indeed a virtuoso progression of make-or-break gambles, a sort of contrarian recipe of contrasting essentials that somehow come together as if they had been fated to. It's an extraordinary item, an accident, a well-lubricated mechanism, a historic cache, an innovative sensation. There has never been another movie entirely like it.
That Terrific B&W Cinematography
In a bombed-out Vienna just after WWII, novelist Holly Martins (Joseph Cotten) arrives from America to renew a friendship with his childhood buddy, Harry Lime (Orson Welles). Much to the dismay of Holly, a freak auto accident has recently killed his friend, according to those who knew Harry.

But in searching for details of Lime's death, Holly gets contradictory stories that don't add up. One of the persons who knew Lime is an attractive woman named Anna Schmidt (Alida Valli) whose continued presence in the story invites suspicion. The film's plot has Holly searching for the truth about his friend, while trying to stave off a city detective, Major Calloway (Trevor Howard) who tries to persuade Holly to leave Vienna.

The film's story is okay. But what makes "The Third Man" really interesting is the B&W cinematography, by Robert Krasker. Unlike most films, camera movement here is restricted, so as to draw attention to each frame's geometry. Typically in this film, a frame is tilted at an angle so that both vertical and horizontal points of reference are off-kilter. Frame images thus become a series of diagonal straight lines and curves. Further, very high-contrast lighting, especially in outdoor scenes at night, creates a bizarre, almost nightmarish look and feel, and are suggestive of German Expressionism.

All of which results in a visual disorientation for viewers that parallels Holly's disorientation both in the streets of Vienna and in his understanding of the circumstances surrounding Lime's absence. In most outdoor scenes there's a conspicuous lack of crowds, a lack of hubbub one would expect in a bustling city. Instead, only a few secondary characters appear in night scenes. This sparseness in characters on the streets conveys the impression that hidden eyes are watching Holly, ready to pounce at any moment from out of dark shadows.

"Everybody ought to (be) careful in a city like this", says one character to Holly, as an implied threat. Soon, a man who wants to give Holly some valuable information is murdered.

The script's dialogue is quite impressive, with some interesting lines and points of view. Some of the dialogue is in German, which enhances authenticity.

The film's acting and editing are very, very good. Adding a slightly romantic, and at times melancholy, tone to this dark film is the music of the "zither", an instrument similar to a guitar, but sounding quite different.

My one complaint about this film is that it's hard to keep tabs on some of the background characters. Trying to connect names with faces can be difficult, resulting in some confusion.

"The Third Man" tells an interestingly bleak story, set in a bleak, desolate urban environment, rendered truly mesmerizing by the creatively surreal B&W cinematography.
Time for Lime
Who was Harry Lime (Orson Welles)? An evil man, devil in the flesh who was responsible for the unspeakable crimes, yet brilliant, cheerful and charismatic. His most famous words, a short speech written by Welles himself, say a lot about his character and motivations:

"In Italy for 30 years under the Borgies 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."

No wonder, we like him, even though we know what he'd done…

It has been said thousands of times about the greatest movie entrance ever – but what about his 'exit' – the fingers on the street? I think it is one of the greatest, too…

A beautiful mysterious girl with tragic past was in love with him and the unforgettable ending, so anti–Hollywood, so true to the film - was about her love that goes beyond the grave. I read that both Selznick (the producer) and author Graham Greene had initially argued for something more upbeat (Holly and Anna walking off arm-in-arm), but Reed disagreed. I am so happy that Reed won (I am sure millions of fans are, too). That was the way to finish the movie and make it much more than just typical noir. Makes the viewer think about love, friendship, betrayal, loyalty, the price one pays for them.

Amazing film - perfectly shot; almost flawless. It looks and feels like Welles himself could've made it. The influence of Citizen Kane is undeniable. The only problem I had – the music. I like it but it was very strange to hear it in the film like The Third Man. Maybe that was a purpose – instead of somber, moody, and ominous music that would be expected for the noir film, something completely different and out of place – cheerful but melancholy in the same time…

Criterion DVD is wonderful – the restored version of the film shines. There are two openings of the film available – British and American, and a lot of extras.
Must see
Without a lot of hyperbole, this movie is a true must see, a film noir master class and an important landmark in the history of cinema.

A story about individuals living in Vienna after WWII, a place and a time of rebuilding in the context of great loss, both personal and national. The intro narration is a cynical description of the setting but the character introduction is hopeful, perhaps prophesying a brighter future. But subsequent events become increasingly shady and foreboding. The conclusion remains in question until the very last scene.

This is an older movie, and acting styles have changed over the years. And yet, the performances are perfect for the setting and the story given that the movie and the story were made and written around the same time in history, in other words, events in the story were contemporaneous with history. Character arcs are engaging and realistic. The story is, in many ways, about character, the choices individuals make and the consequences that follow, the influence of history on individual choices and the impact of character on history. DEEP.

The cinematography alone is worth several viewings. B&W heaven.

The direction is a healthy mix of Orson Welles, Alfred Hitchcock, and British discipline. Excellent pace, every shot/scene essential. Suspension of disbelief is easy and effortless. The editing is fluid, seamless, invisible if you're not looking for it. That is meant as a compliment.

There are many sub-textual layers to this movie; something that is important to me when recommending a movie as a must see.

I did not give this movie a 10. Why? Perhaps this was not intended but the British character and element came off as higher than thou, arrogant. Didn't like that. Maybe I'm being petty but it seemed that this element changed the thematic focus from existential crisis to political righteousness. Other than that, it's a 10.
My 60 years following Holly Martins, Harry Lime, Anna Schmidt and Major Calloway through Vienna's dark streets
I first saw the film in 1949. I loved it but was not mature enough to fully appreciate it. Saw it tonight 6 December, 2005. How much more I saw and understood and felt this time. Wonderful- it redefines the term Dark Romance.

Four superb actors working under the great Carol Reed, photographed by the Krasker - a brilliant constellation!

Another curious conjunction; like Valli, I was born on May 31, 1921, like Valli I have theater in my background. Geminis you know.

Seeing the film I vowed that someday I too would ride the great wheel of Vienna and gaze down upon the "dots". Twenty years later I made that dream come true. If there is a spark of romance in you, do it before you die. Ernest Lent
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.
One of the best movies ever
In my top 3. This movie has some of the best shadow work I've ever seen. Deep Caravaggio lighting is striking. And the music is tops.

On to story...They just don't write 'em like this anymore. This script has it all. The use of the camera is, too me, the most intelligent use of a camera in all of film history. The characters are all so round and bursting with fullness that it makes me want to puke...it's so perfect. How did they do it? It was just another movie that they were pumping out...They just happened to throw in a ferris wheel scene that has become one of the most classic scenes of all time.

What a splendid job of recording history. The four sectors of Vienna. I don't think I'll live to see a film that has a better final scene. wow.
A great film that keeps getting better.
As you watch The Third Man, you are slowly sucked into the word of past war Austria. You can almost taste the wet stones that line the streets and you feel just as alone as Holly Martins does. Holly has come to Austria at the request of his boyhood friend, Harry Lime. Upon arriving in Austria, Holly learns that Harry has been killed. As Holly digs deeper into Harry's life in Austria, things start to get weird. Turns out Harry wasn't all that Holly thought he was. That only drives Holly to find out what really happened to Harry, and who the mysterious Third Man is. The Third Man not only showcases great performances from Joseph Cotton and Orson Welles, but it also boasts great black and white cinematography. Shadows abound from every corner and the angles give you a feeling of being off balance, which is how Joseph Cotton feels through the first half of the film. Post war Austria lends itself well to the story. The bombed out buildings and dark streets highten the mystery and danger that lurk in the corners. A great film that can never be topped, and once you've finished the film, you'll be in a dither over the zither.
A Great movie of 1949
Holly Martins a novelist comes to visit one of his friend Harry Lime, but later founds out that his friend died on that day only. Holly comes to know that no strangers were there when Harry Died in accident, which creates a doubt in his mind that whether it was an accident or a murder? From the Harry's porter he comes to know that there was a "third man", who was he? is the question Holly seeks in the movie. Later on some events unfolds in such a way forcing Holly to change his mind toward Harry. The movie is set up during the post war period, opening shots shows Vienna which has been destructed by the war. The most amazing thing about the movie is the camera work and the editing. The movie is of 1949, and by this it can be said that during that point of time people would have loved it, as the plot is so intriguing that you cannot leave your seat for once. Last but not the least the character of Anna Schmidt will make you love her more and more.
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. 📀