🎦 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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Old classic
An example from the classic era of film noir. Director Carol Reed introduces us to post-war Vienna filled with harsh angles, Gothic shadows, lonely streets and gleaming streetlamps. Pulp novelist Holly Martins (Joseph Cotten) arrives to the city looking for a job his good friend Harry Lime (Orson Welles) has promised him. Immediately upon arrival he finds out that Lime has been run over by a car. Police think it a simple accident, but Martins has other ideas.

Reed is a known expressionist and this shows heavily in the film. Dutch angles fill almost every shot and a lot of time is given for the buildup and the atmosphere of the city. And the film is to be praised for this. Many of the shots seem eerily familiar to the viewer. Not because you've seen the film but because so many later directors and cinematographers have been influenced by it. The shot of Lime's shadow looming against a wall as he slowly approaches is a fine, fine piece of film making and the most iconic the film has.

Eerily familiar also describes the story to a tee, but in this case that is not a compliment. The plot is fairly easy to predict, despite of it containing some pretty clever twists. I can only imagine how revolutionary a film such as this one must have seemed like back on its day. But now, as someone who has watched so many other similar films... Well, it honestly makes the film something of a bore. I can appreciate it visually and the actors are extremely talented, but the story didn't leave me with much.

And this is honestly the problem with a lot of mid-century films. At least for yours truly. There is something to be said about being one of the first to do something. But if that thing continues to be done better and better throughout the years, is it okay, at some point, to let the first examples go. Am I doing this film and others like it a disservice by not having seen them earlier when I would have been more able to appreciate them?

Perhaps. Or perhaps history and time march on, like they always do. Nevertheless, it's a fine film. Very well made, very well acted. And the story is a good one. The fact that it has been made again so many times since then is a testament to that.
Great film
Greetings from Lithuania.

I can believe of how involving and intriguing "The Third Man" (1949) actually is after seeing it just now for a first time in 2017. This is a movie which stood the test of time. Now for a second this movie in term of its narrative, script, writing, acting and directing looked like of felt like it was made back in 1949. All of the above mentioned parts of the film were more then great - they were a head of its time. Now i also loved how somehow darkly funny this movie was and especially the whole story if you think about it - i won't spoil the ending for those who haven't seen it yet, but the story about a novelist desperately trying for find out about his closed friends dead and how it all ends its just a funny, darkly funny thing. Music as well cinematography were also great.

Overall, while "The Third Man" isn't perfect nor it blew my away like some other films of the period, this is a great film overall, a bit a head of its time.
A movie ahead of its time
The Third Man is a movie that looks and feels not like a movie of the 40s, but like a neo-noir of the late 60s/early 70s. This wonderful example of classic noir is one of the all time greatest films. It combines amazing visuals, sounds, dialogue, and acting to tell a thrilling story and comment about the atmosphere after WWII.

Of all the movies durring the studio era (pre-1960ish), there are three movies with cinematography that always stick out in my mind: Gregg Toland's work in Citizen Kane, Russel Mety's work in Touch of Evil, and Robert Krasker's work in The Third Man (all starring Orson Welles funny enough). I just recently saw a restored 35mm version of The Third Man. The crisp black and white visuals of a bombed out Vienna are so breath-taking. Shadows are everywhere. The unique way Krasker tilts the camera in some shots adding to the disorientation of the plot. And who can forget the first close-up of Welles with the light from an apartment room above splashing onto his face; one of the great entrances in movie history (Lime gives his old friend a smile that only Welles could give).

The cinematography is backed by strong performances by Welles, Cotten, and italian actress Vali. The writing of Greene is wonderful; you can see the plot twisting around Cotten tightly. But what makes The Third Man so great is its historical commentary (well not really historical since it was commenting on its own time, but to us it is historical). On one level The Third Man is a story of betrayal and corruption in a post-war, occupied Vienna. On the other hand, its giving the audience a glimpse of the mood of Europe after the great war. The uncertainty that the Cold War was bringing is evident through out the film; Cotten is constantly trying to figure out who to trust. Vienna is on the frontier of the new communist bloc (we even see the communists infiltrating Vienna trying to bring Vali back to her native Czechoslavakia). The zither music score combined with the stark images of bombed out Vienna are reminiscent of the frontier towns of American Westerns. So The Third Man is not only a wonderful film noir, but a unique look at the brief time between WWII and the height of the Cold War.
A glorious thriller
Carol Reed's The Third Man is set in post-war Vienna- a hypnotic city, which is in consideration of the mountains of rubble and general sorrow of the are- and stars Joseph Cotten as Holly, a writer of hokey B-Western novels who's come to visit an old chum named Harry Lime. He finds out Lime is dead, but that there is more to his old friend than he knew since before the war, along with Lime's girl Anna (a sympathetic character?). Then when the revelation is shown of Lime's face on a darkened street, the film reaches an elegance rarely seen today in pictures.

Orson Welles, who plays Harry Lime, has in fact a role much like a cameo, having a speech with Cotten on a Ferris Wheel. Even before his "cuckoo clock" finale, we get the sense this is one of these classic scenes of all time, leading up to an unforgettable chase in a sewer. Along with precise, Oscar Winning cinematography, and an ever-entrancing musical score, The Third Man is one of the essentials for movie buffs. A++
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.
My favourite British movie
An excellent post WWII mystery and my favourite film noir (i also like Chinatown and LA confidential) and also my favoutrite British movie (i also like The Italian Job).

The film has an excellent story script and great acting by Orson Welles (although i did prefer Citizen Kane) and great direction by sir carol reed.

A film for anybody.

For me, a stylish, complex, but ultimately overrated film noir.
Let me start this off by saying that on the technical side, The Third Man is absolutely brilliant. The cinematography is beautiful, the visuals enhance the atmosphere, and that soundtrack is perfect. It's beautiful to look at and wonderful to watch.

That aside, I don't know how far I can go without sounding like a pretentious idiot or an uninformed idiot. I don't particularly like either and I'd hate to become one too.

The Third Man has a fantastic premise. Plenty of great twists and turns with fine performances from Orson Welles and Joseph Cotton, but in my opinion, I don't think that this noir story stands out or is all that great anyway.

Maybe I'm wrong, but I'm not too keen on several plot holes and inconsistencies. First off, we don't know who the real "Third Man" is. Harry Lime? Or someone else? Maybe that's supposed to be the beauty of it and I'm not getting it, but I don't like it at all. Second, the shop owner was killed all of a sudden when he was about to give out information. Harry Lime? Or again, someone else? He's pulled to the side and forgotten about just as soon as he's gone.

But my biggest problem with the film is with Anna Schmidt. First off, she claims she is no longer in love with Lime. Then she finds out the atrocities he's committed, and further cements her decision that she is better off living with someone like Holly instead of Lime. In fact, who can't help but dislike Lime for the things he had done? But in the end, she ends up hating everyone around her for setting him up for his death. She won't talk to Holly, she tries to defend him and show him the way out of his problem, she won't cooperate. What gives? And then the ending scene. That entire ending, in fact. The ten minute chase scene, while expertly shot, dragged and didn't need to be ten minutes long. It could've gotten to the point in about three minutes. And the final three minutes of the movie, in which Anna just walks and Holly stupidly waits for him.

I don't know. Maybe I'm not looking at this the way I'm supposed to and not appreciating it for what it is, but I wasn't at all entertained by the things I saw.
Classic Noir With A Post War Feel
When this movie was released, there was a lot of classic noir. This film has the feel of the noir era only with bigger stars than films like The Narrow Margin for example. That is because we have Western script writers writing a film noir.

It does work pretty well because of a talented cast. Orsen Welles plays Harry Lyme, a mysterious character who fakes his own death before Joseph Cotton (Holly Martin) arrives on the scene. It is then up to Martin to find out about Lymes life, yet he can not shake the feeling perhaps Lyme is not dead after all.

There is a lot of support here that is very talented from Bernard Lee(see his support of 007 in Dr. No) to Trevor Howard (see Noel Cowards's Brief Encounter in 1945). Robert Brown, another Bond series regular, has an accredited role as a cop in the storm drain sequence.

The storm drain chase at the end of this is the main highlight of the film. But prior to this, it is pretty much film noir. Carol Reed, the director of James Mason's Odd Man Out in 1947 seems to be the ideal director in this one. Reed gets a lot out of any cast, and that is not an exception here. His direction of this final chase of Lyme is nearly flawless.
I'm in the Minority Here **1/2
You would think that Harry Lime was the pillar of society the way Joseph Cotten and Valli made him out to be. Go know that this supposed endearing person was in the black market business and dealing with inferior penicillin that sickened and caused many deaths.

The film takes place in post World War 11 Vienna and yet all soldiers, whether they are Russian or Austrian police look like Nazis.

I will admit that Orson Welles has some scene stealing when it's finally revealed that Harry is actually alive. He is usual cunning, sinister and threatening way.

Joseph Cotten is fine for the part, but that music played over and over is far from endearing.
The real mccoy when you want to talk serious screen legends!
What IS it makes THE THIRD MAN the classic most everyone agrees it is? (And lets face it, voted no 35 in the top all-time films gives it MORE than just some passing credibility!) Is it Orson Welles' menace? The whiff of corruption in occupied post-war Vienna? the cuckoo-clock speech atop the big wheel? even Anton Karras' zither? Perhaps ALL these things? If however, you had to nominate just a single influence within the whole production that elevates it to greatness I suggest that would be Robert Krasker's cinematography.

The finished product innovatively, was years ahead of its birthright. Time and time again the viewer is bailed up by stunning camera angles and back-lighting. The eerie shadows around the deserted streets and of course the unforgettable first glimpse of Harry Lime (Welles) himself as he skulks like the rat he is, in the corner of the building, lit in close-up suddenly from the light in an adjacent apartment. Offhand I cannot think of a character's more dramatic entrance to a film.

Welles in fact has minimal screen time, though his dark presence and influence infiltrate proceedings like an insidious disease. Yet somehow his ultimate demise in the sewers brings into play an incredible sadness and compassion that has absolutely no right being there. It remains for me one of my top five film favorites. I have always given it a "10" personally but hey, to be voted an "8.6" universally is a pretty fair vindication of my words here.
📹 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. 📀