🎦 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
Visually and aurally astounding
When I think of this movie, I can't help but compare it to Casablanca...this is almost the anti-Casablanca. Everything is contrapuntal and played against one another, but with such playfulness that the music hits so perfectly. The great man of the movie, Lime, is nothing but a scoundrel, and the anti-hero Martin is a complete sap, the love interest Anna oblivious and self-absorbed. Truly a remarkable story, played with great heart and really probably the darkest humor you will find in a movie. Orson's blitz of a rationalization for his insensitive evil is one of the funniest and well written speeches you will ever hear.
Mesmerizing Noir By Sir Carol Reed
I don't know if Carol Reed set out to prove that film noir was not the exclusive province of Hollywood men like Billy Wilder, but THE THIRD MAN, made by a British director and filmed in and around postwar Vienna with an international cast, is one of the greatest films noirs ever made.

The great, underrated Joseph Cotten stars as Holly Martins, a moderately successful writer of pulp fiction who comes to Vienna in search of his boyhood friend Harry Lime. He is, however, a day late and a dollar short: he is informed that Lime was run over in the street the day before and killed.

Shocked at the news, Holly naturally asks many questions, but it quickly becomes clear that no one wants to give him any answers. Everyone he talks to acts like they are being followed, and all he learns is that two men were with Lime when the accident happened and carried his body to the side of the street. Only the porter's account differs from this official version: he insists that there was a "third man" there at the time, but try as he might, Holly can get nothing more out of him.

Also mixed up in whatever is going on is Harry's mistress Anna Schmidt (Alida Valli, billed here only by her surname), a beautiful actress at a local theatre who, like everyone else Holly has encountered, seems reluctant to talk and gives a good many enigmatic answers.

Torn between dissatisfaction at the lack of information he is getting yet at the same time drawn to Anna, Holly makes a few awkward attempts to court her, such as bringing her flowers. Unfortunately for both of them, he can't resist trying to find out what happened to Harry, and is shocked when Anna actually suggests that he is better dead.

Meantime the local police want nothing more than for Holly to get on the next plane back to the States. Everybody in this film is either hiding something or afraid of something (or both), and Holly's attempts to find out the fate of his friend go nowhere for some time. Finally it is revealed that Harry Lime was involved in the black market distribution of diluted penicillin; the description of the effects of the watered-down medicine does not bear close scrutiny, but it does not matter. Holly is forced to come face-to-face with the truth that the boy he once knew became a man he did not know.

Just when you think things can't get any more twisted, Harry (Orson Welles) turns up, very much alive and completely unrepentant with regard to his black market activities.

This is a real roller-coaster-ride of a movie; it has the most unexpected twists and turns, including an unforgettable chase scene through the sewers of Vienna at night.

One of the stunning things about this movie is how forcibly Welles's presence is felt despite the fact that he does not show up until the film has been running for a solid hour. In fact, probably the most remarkable thing about this movie is that it is about a man that we do not see until the movie is into its second hour and who is really neither the lead nor the title character although the story revolves around him (the "third man" of the title is not Harry but one of the men who carried him to the sidewalk after being run over in the street). and who dominates the film even though he appears in only a small handful of scenes. Welles is perfect here; he tones down his tendency to be hammy and underplays beautifully, probably so that he would not look a fool next to Joe Cotten, one of the greatest actors of his day, who delivers here one of his finest performances.

And Valli makes three: stunning, enigmatic, with an undertone of bitterness, she makes Anna an unforgettable character.

I've given enough away, I think. The greatest movies are those that defy simple categorization. Reed may have set out to make a noir, but the end product is much, much more than the sum of its parts. And Anton Karras's zither-based score is haunting and fits the mood of the piece to perfection.

This film also has one of the most iconic and unforgettable final shots in cinematic history. I won't reveal it; it's just too good.

A real stunner.
Some Idiosyncratic Comments On THE THIRD MAN
I am not sure if anyone mentioned the ending, which has me bursting out in tears and heartbreak, and reaching for a cigarette, in deep resignation and yearning, every time I see it.

And, how about the absurd comedy that always, in reality, accompanies the darkest, direst situations in life? It's in there! (Like Prego Pasta Sauce!) I experience a visceral need to see this film at least once every 3 months. In fact , I might stop typing now and.....And, who can honestly tell me that they don't feel like the down and out ex-repatriated American , like Holly Martins, almost all the time nowadays! And the death of Sgt Payne still stings horribly. It's Callo-WAY , not Calla-Han, Holly, so get it right!!
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
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.
"The Third Man" is a masterpiece by British director Carol Reed filmed from a screenplay by famous writer Graham Greene. This is one of the best European film noir, with its distinctive atmosphere of postwar moral chaos and hopelessness, and an unhappy romantic love story that describes the crime and moral decay of the world in which the protagonists are trying to survive.

After the end of the second world war-torn Vienna is divided into four zones, each governed by one of the military police of the winning countries - US, Soviet, British and French. Holly Martins (J. Cotten), American writer, comes to Vienna as he was invited by his friend Harry Lime (O. Welles), offering him some work. Holly came to the house where Harry lived in a rented apartment and finds out that Harry was killed the day before - run over by a car in front of the same house. Shocked, Holly finds himself at Harry's funeral and meets two British military officers, Major Calloway (T. Howard) and Sergeant Paine (B. Lee). Calloway is interested in late Harry Lime, and he examines Holly, advising him at the end to leave Vienna because of the danger. Holly meets two of Harry's friends, Baron Kurtz (E. Deutsch) and Popescu (S. Breuer), who allegedly witnessed Harry's death. Exploring the unfortunate circumstances of Harry's death, Holly is puzzled by many contradictions, Holly begins to suspect that something is wrong ... The character of criminal Harry Lime is one of the most charismatic in the history of film, and Orson Welles plays it with a lot of charm and humor. Particularly notable in the film music of Anton Karas zither on a theme Harry Lime is one of the most famous evergreens in history of film music. Reed's film won the 1949 Palme d'Or at Cannes, and the Oscar for best picture.
To zither or not to zither, that is the question...
THE THIRD MAN is an effective piece of late '40s film noir, but in my opinion is a rather overrated one, accompanied as it is by a distracting zither score that some believe is the film's crowning achievement, aside from Robert Krasker's B&W photography.

Joseph Cotten gives his usual low-key performance as the pulp writer who wants to track down what really happened to his friend, Harry Limes (Orson Welles) whom he suspects has met with foul play and Valli is similarly low-key in her role as Limes' lonely sweetheart. Trevor Howard is excellent as Major Calloway who tries to help both Cotten and Valli, warning both of the dangers they face.

The B&W Oscar-winning photography of post-war Vienna is crisply detailed and shadowy in its display of virtually empty cobblestoned streets at night and the background score is unusual and sometimes even striking.

But therein lies the trouble. Not all of the famous Anton Karas zither score seems appropriate for the on screen action, although whether this is intentional or not, I don't pretend to know. For me, much of the score works against the story instead of creating the proper amount of tension in the script, as atmospheric as the Austrian music is.

If ever a story of post-war Vienna troubled by corrupt officials and black market thieves and murderers needed an orchestrated score by a Bernard Herrmann type of composer, this is it. Others have praised the zither score to the skies, but I'm of the firm opinion that "The Third Man Theme" itself is the high point of this particular score, effectively used every time the mysterious Orson Welles appears.

His theme became enormously popular as "The Third Man Theme" and deserved its success as a single--but as others have observed, the rest of the zither score becomes a bit monotonous after awhile and plays against what is happening on screen instead of deepening the emotional impact of the story. In fact, there are times when it becomes distracting and even irritating.

It's an interesting, almost semi-documentary kind of film from Carol Reed that has Welles appearing only toward the halfway point and then only briefly. He gives one of his better performances, more controlled, less florid than usual, although the film is carried chiefly by Cotten, Howard and Valli and some superb photography.

The story is told in such a cold documentary manner that there is almost an air of detachment about connecting to any of the characters we are supposed to care about. In this respect, it is Trevor Howard's Major Calloway that comes across as the most likable and fully developed character in the story.

Trivia note: The kitten seen in Valli's apartment and devoted to Harry Limes is not the same creature that rubs against him in the doorway scene, an obviously older cat. How did they think a sharp-eyed movie fan would not notice??
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.
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.
Atmospheric British thriller
American author Holly Martins arrives in Vienna to meet old friend Harry Lime. On arrival he finds Harry was just killed in an accident and attends his funeral. The police are happy that his death was an accident and are also closing crimes by attributing them to him. Martins begins to investigate the accident and finds out things that lead him to a shocking discovery that will eventually challenge his values and friendship.

This is a classic bit of British cinema that owes a lot to the source material (Graham Green) and the slanted, moody cinematography throughout. The story is quite straight forward and can be perceived more complicated than it is. The best bits of the story come early, with Martins investigating the accident against a backdrop of secrecy and cover-ups, and later when he confronts Lime briefly on a Ferris wheel. The story is mainly a story of friendship and morals packed into a mystery setting. The final shot of the film is really good and gives a realistic (if not happy) end to the story.

Joseph Cotton was always good around this period and seemed to be on a roll when he teamed up with Wells. Here he is good as Martin, even if his character is not as interesting as Harry Lime is. Orson Wells is excellent, casting a huge shadow (literally!) over the film despite having a very short time onscreen compare to Cotton. The director and the writer fought the producer to cast Wells in order to make the film more sellable to the American audience (the producer wanted Noël Coward) and the film is much better for their choice. His character hugely lacks morals and, despite being a small hustler, is almost a demonic figure - most notably in his speech on the Ferris wheel where he defends his actions to Martin.

The film is given a great mood of shadows throughout. The city itself is shown as both beautiful and in ruins and is constantly slanted and shadowy. The final confrontation in the sewers of Vienna is excellent. The score is also good - at first it doesn't seem to fit, as it seems out of step with the mood, but it does work well with the culture that exists in the city at the time - I can't really explain it better than that but it does work.

Overall this is a classic. The story may not be enough to support repeat viewings but the moody, the cinematography and a towering performance by Wells all make this essentially viewing for film fans.
📹 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. 📀