🎦 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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A let down - not bad, but not a classic in my book
Sir Carol Reed's 1949 film The Third Man is one that consistently crops up "The Greatest Film Of Time" polls. The American Film Institute named it #57 in their top 100 and it reached an impressive #41 in Channel 4's recent poll. But as Warner finally release it on DVD, does this 53 year old film still cut the mustard? I'll get to that later, but first onto the important matter of the plot.


American third rate novelist Holly Martins (Joseph Cotten) moves to Vienna to take up a job, offered to him by his friend, Harry Lime (Orson Welles). On arrival Holly discovers that Lime has been killed in a road accident but something doesn't quite seem to add up. He proceeds to play private detective with the same ineptitute that characterises his writing, and events take a dramatic turn for worst. Lime it seems is not dead, rather a dangerous racketeer and a killer. Alongside this story runs a fairly typical love triangle, with Martins taking a shine to Lime's girl, Anna (Alida Valli), who is more interested in the memory of Harry than the presence of his friend.

So this is all well and good - add a terrific finale, some irritating zither music, and a mixed quality of acting and you've got a good film, albeit it one which doesn't quite live up to its billing. Joseph Cotten's one dimensional character provides an unsatisfactory centrepiece to the story and Welles, who is only onscreen for around 20 minutes, steals the show. His monologue about the Swiss and their cuckoo clocks is the most memorable in the film and a fine example of the dry humour which crops up occasionally throughout.

The Third Man was a film I was very excited about seeing. After watching it however, I couldn't help but feel slightly disappointed. Orson Welles delivers a great performance but the first hour of the film, notable for Welles' absence, is sluggish and slow-paced. Only in the final third does The Third Man live up to its acclaim, and while it includes some memorable lines and terrific scenes, this isn't quite sufficient to justify its classic status. 6/10

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.
"The world doesn't make any heroes outside of your stories."
They call it film noir. But to do so would imply that the film adheres closely to the stylistic and thematic rules of its predecessors, when, put simply, there's never been anything quite like 'The Third Man (1949).' Carol Reed's post-War masterpiece differs from traditional noir in that it is a distinctly British production, equipped with a wry, almost whimsical, sense of humour that places it alongside the Ealing films of the era, particularly 'Kind Hearts and Coronets (1949)' and 'The Lavender Hill Mob (1951).' Set in post-WWII Vienna, the film depicts a crumbling community of wretched thieves and black-market racketeers, effectively capturing the decadence and corruption of a city that has been brought to its knees. Instantly recognisable through Robert Krasker's harsh lighting and oblique, distorted cinematography, as well as Anton Karas' unique and unforgettable soundtrack – performed on a peculiar musical instrument called a zither – 'The Third Man' is one of the most invigorating cinema experiences to which one may be treated.

Into the rubble-strewn ruins of Vienna comes an American pulp-novelist, Holly Martins (Joseph Cotten), who arrives without a dime in his pocket in search of an old friend named Harry Lime. However, upon his arrival, Martins is horrified to learn of Lime's tragic death in a traffic accident. Unsatisfied with the explanations he receives from the authorities and witnesses, he teams up with Lime's ex-girlfriend Anna Schmidt (Aldi Valli) to solve the mystery of his best friend's death. Was it an accident? Was it murder? Who was the "third man" who was seen carrying Lime to the roadside? Of course, as you and I both know, Martins' childhood friend, having faked his own death, is very much alive, and intent on keeping his continued existence quiet. The extraordinary moment, when Harry Lime's face is abruptly illuminated in a doorway, as a cat affectionately nuzzles his shoes, hardly comes as a surprise after fifty years, but the magic is very much still there.

Orson Welles' amused boyish smirk, wryly taunting Martins across the roadway, signals the entrance of one of cinema's most charismatic supporting characters. Despite being absent for the first half, Lime's presence is felt throughout, his darkened shadow continually towering over Martins as he seeks to ascertain the circumstances of his friend's death. Lime is a perfect example of the anti-hero, a vibrant, likable and identifiable personality who commits atrocities that should immediately warrant our detestation. Graham Greene's brisk and intelligent screenplay gives Lime all the best lines, particularly on the Ferris Wheel ride when he muses on the value of those inconsequential "little dots" walking below, though Welles himself takes credit for penning the celebrated "cuckoo clock" monologue; a rapidly-delivered acknowledgment of the creativity born from "warfare, terror, murder, and bloodshed." Though Welles justifiably receives a lot of the praise, every other cast member delivers a wonderful performance, particularly Cotten as the bemused and morally-conflicted foreigner, Valli as Lime's steadfast lifelong disciple, and Trevor Howard as the Major who wishes that Lime had remained underground.

Director Carol Reed famously clashed with producer David O. Selznick over various facets of the film's production, with Selznick insisting on pivotal casting decisions, and allegedly suggesting that the film be titled "Night Time in Vienna." However, in the case of the suitably downbeat ending, both producer and director saw eye-to-eye, and Greene's original optimistic conclusion (in which Holly and Anna reconcile) was shelved in favour of the wonderful static long-shot, in which Martins is completely ignored by the women whose trust he is perceived to have broken. 'The Third Man,' perhaps as a result of these contradictory artistic influences, has acquired, like no other film I've seen, a distinct personality of its own. Karas' zither soundtrack, as though consciously flouting traditional noir conventions, adds an element of whimsy to the proceedings, and somehow complements perfectly the larger-than-life distortion of Krasker's photography, in which ordinary human shadows tower three storeys in height, and even the most commonplace of interactions take on the warped dimensions of a drug-induced dream. In Vienna, the truth can be as elusive as a ghost.
One masterpiece per customer
Filmed as though the camera had one tripod leg shorter than the others, along with zithers, seductive shadows, echoing sewers, Alida Valli's cheekbones, ferris wheels, cuckoo clocks and a magician's touch, this film is more of an experience than a movie. Impossible to remake, it also captures Vienna at a critical time just after WW2 when it was still occupied by the Allied powers.

Even after 55 years, "The Third Man" has a compelling story, superb performances and enough style for ten films.

And that story by Graham Greene stands up even when compared with all the brilliant mystery films over the intervening decades as well as literate crime series on TV such as "Lewis", "Wallander" and "Vera" etc.

Holly Martins (Joseph Cotton), a rather nerdy, and slightly annoying writer of paperback westerns, arrives in post-war Vienna to discover that his good friend Harry Lime (Orson Welles) has supposedly been killed in an accident. He encounters suspicious British policemen (Trevor Howard and Bernard Lee), and also Harry's enigmatic and beautiful girlfriend Anna (Alida Valli). Eventually Holly learns things about Harry that trouble him deeply. It all leads to a confrontation in the cavernous sewers under Vienna.

The film also features one of the most unexpected endings ever. I won't spoil it in case one of the five people who haven't seen the film happens to read this.

Suffice to say that the original script had a more conventional ending and it was actually David O Selznick who came up with the one used in the film. It was always assumed that it was director Carol Reed's, but Charles Drazin in his fascinating book "In Search of the Third Man" pretty well pins it down to Selznick, who attempted to interfere with the whole production. Although ostensibly a British film, Selznick had money in it with Alexander Korda.

There is so much to observe and enjoy including Orson Welles famous monologue, and the stunning Alida Valli. She was so beautiful, "head-swivelingly beautiful" as Martin Scorsese once said. Even the shapeless raincoat she wears for most of the film only makes those luminous features even more striking. She had already made a couple of Hollywood movies including Hitchcock's "The Paradine Case" another film where her mystique is caught if a little chillingly – and she wasn't even a Hitchcock blonde.

Carol Reed went on to make other movies including "The Man Between", which tried to recapture the spirit of "The Third Man", this time set in Berlin. It even foreshadowed "The Spy Who Came in from the Cold", but it didn't have that self-contained, indefinable magic of "The Third Man". Maybe its only one true masterpiece per customer, although Reed's batting average was always strong.

Whatever the case, "The Third Man" has lost none of its lustre and more than lives up to its reputation. I'd have to say it's a desert island disc for me.
What a wonderful man!!!!!!
The best film noir ever made. Mr Welles never was so handsome, and so evil as in this movie. But Why he must die??????? Oh, that horrible censorship!!!!!! But, about mr Cotten, I think he is a wonderful, but too forgotten actor. Mr Cotten^s fan club now!
I don't mind a slow movie. That is, as long as the story calls for it. But in the case of The Third Man, the tempo is nothing but dull.

I imagine that the big reveal of Harry Lime, played by Orson Welles, still being alive might have been shocking when the movie was released in 1949. Kind of like Kevin Spacey being the killer in Seven, receiving no credit on posters or in the title sequence in order to preserve the mystery. Today, one would be hard pressed to find someone who doesn't know that Spacey's in Seven.

This brings me back to The Third Man. Before seeing the movie I knew absolutely nothing about it, except it being voted one of the best British films ever, and that Orson Welles plays a character called Harry Lime (his face is on the cover for chrissake!), a fact which has been hard to avoid as it's regularly on lists of great performances. Consequently, I spent most of the film waiting for him to appear. No great mystery left, in other words.

The acting is symptomatic of its time, so I can't really complain about it not being naturalistic. It's just something you have to accept when watching movies from this time period. Although I have to say I love the scene in the ferris wheel. Welles does a great job there.

Although some people might love it, I'm just really annoyed that the movie refuses to decide which genre it's in. Is it a comedy? Is it a thriller? There are instances where combined genres work beautifully, but The Third Man is not one of those cases. The problem with The Third Man's genre schizophrenia is that the comedy parts aren't that funny, and the thriller parts aren't very thrilling, resulting in a bland mess.

The thriller part is messed up even more by the ever annoying zither soundtrack. I can think of only one other case where the soundtrack almost singlehandedly messes up a movie, and that's Serpico. In the case of Serpico the director Sidney Lumet boasted that there was only about 10 minutes or so of music (I can't remember the exact number, but he says it in the special features on the DVD) in the entire 2+ hour film. All I could think about when watching it was that it was 10 minutes we could have done without that awful Mikis Theodorakis crap.

Back to The Third Man, Anton Karas' plinky plunky zither bonanza plays almost nonstop throughout the entire picture. It sways between being vomit inducingly melodramatic and something out of a zany Tom & Jerry cartoon comedy, effectively removing any tension that might have been left in the movie.

The behind the scenes documentary on the DVD was far more interesting and engaging than the movie itself, and is the only reason for me not chucking the movie into the waste basket.
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.
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!!
Blithering Zithering!!
I love Orson Welles and Joseph Cotton, either together or singularly in movies. This one I saw for the first time a few years ago on TCM. They played it again this morning.

If there was a way to play a movie on "Mute," and still get the gist of the acting, I would do it. What a horrific decision to make use of a Zither as the major music score. The repetitive pounding of the same score was maddening! In case you have any tympanic membrane left, be forewarned....A "Zither" is a musical instrument that sounds like a cross between a Mandolin and a Screeching Cat. The music goes loud, then low (during a funeral), fast then slow.... but rarely stops for more than 5 minutes at a time. It's the same tune too. Forget waterboarding: just play this music score to your enemy and they'll beg you to take their secret info.

The movie is often shown in angles, as though they tilted the camera. Tall shadows of unknown persons in the city at night were supposed to add to the thriller aspect. Oh yeah, it seems that this city is always empty except for the movie crew and actors. Odd.

I thought the movie was fine, but not worthy of most accolades. Just a modest post-war thriller of sorts. Orson Welles shows up in the last third of the movie. The thrill part comes mostly from his interaction with Joseph Cotton and others, and the plot point is finally revealed. Big Deal!! Geez....I don't think I've ever spent so much room of a review on the music alone. BUT It's the music that jangles every nerve in my body and ruins what otherwise would have been a good movie experience.
the best of all time
Unrelenting fascination is what I have every time I watch this movie. It never seems old. It's in my mind, haunting me, with its unearthly music and its dark, oblique photography. And that great Orson Welles' speech, and also the best entrance in movie history to go along with the best exit in movie history. It couldn't be better. I can't even express how I feel in words. Watch it again and again, and you'll be dazed!
📹 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. 📀