🎦 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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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.
Simply Beautiful
I don't know why this movie always hooks me the way it does; it's obviously a masterpiece and a revered piece of British/American cinema - but that alone is not the reason (there are other such masterpieces which fail to have that effect on me). Maybe it's the setting: the beautiful city of Vienna right after World War II, the scars of the most devastating conflict in human history still visible at every corner. Or it's the contrast between the eerily happy music tune - which plays throughout the entire film - and the dark, tragic story of murder and betrayal which I find so strangely captivating. Whatever it is, I just love this movie.

'The Third Man' now has more than 60 years on its back, but its age hardly shows. Despite the story's dark themes, the general mood of the narrative is rather light, sometimes darkly funny, and the slightly cynical tone and morally ambiguous characters give the movie a very modern feel. What also stands out and makes the film memorable - in addition to the fantastic soundtrack - is the outstanding, Accademy Award winning cinematography. Black and white has rarely looked better. The way DOP Robert Krasker plays with unusual angles and virtually "paints" this city of Vienna with light and shadow, he adds an almost expressionistic quality to the film. I always felt that the city plays an essential part in the story, - a key character if you will - with its damaged buildings reflecting the damaged human characters. The recent war is a looming presence throughout the film, and to me this is as much a story about the desensitizing effect of war on people as it is a murder mystery. And there is yet another quality to the film which needs to be mentioned: it's very entertaining. 'The Third Man' has fantastic pacing and there is simply not a dull moment in it.

To sum up my overall impressions, this is one of those rare occasions where everything just falls right into place and helps create a unique film experience: Carol Reed's masterful direction and the wonderful performances by the fantastic actors (Joseph Cotten, Trevor Howard, Alida Valli and Orson Welles); the beautiful soundtrack by Anton Karas; the gorgeous cinematography by Robert Krasker, and, perhaps most importantly, the story and screenplay by Graham Greene with its unexpected twists and turns (although the unusual, iconic ending wasn't Greene's idea). A true work of art and highly enjoyable entertainment: 10 stars out of 10.

Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/

Lesser-Known Masterpieces: http://www.imdb.com/list/ls070242495/

Favorite Low-Budget and B-Movies: http://www.imdb.com/list/ls054808375/
Good film with an awesome cinematography
Opportunistic racketeering thrives in a damaged and impoverished Allied- occupied Vienna, which is divided into four sectors each controlled by one of the occupying forces: American, British, French, and Soviet. These powers share the duties of law enforcement in the city. American pulp Western writer Holly Martins (Joseph Cotten) comes to the city seeking his childhood friend, Harry Lime (Orson Welles), who has offered him a job. Upon arrival he discovers that Lime was killed just hours earlier by a speeding truck while crossing the street. Martins attends Lime's funeral, where he meets two British Army Police: Sergeant Paine (Bernard Lee), a fan of Martins' pulp novels; and his superior, Major Calloway (Trevor Howard), who says Lime was a criminal and suggests Martins leave town.

An official of the British occupying forces subsequently approaches Martins, requesting that he give a lecture and offering to pay for his lodging. Viewing this as an opportunity to clear his friend's name, Martins decides to remain in Vienna. He receives an invitation to meet from Lime's friend, "Baron" Kurtz (Ernst Deutsch), who tells Martins that he, along with another friend, Popescu (Siegfried Breuer), carried Lime to the side of the street after the accident. Before dying, according to Kurtz, Lime asked Kurtz and Popescu to take care of Martins and Anna Schmidt (Alida Valli), Lime's actress girlfriend.
Nobody thinks in terms of human beings. Governments don't. Why should we?
The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker.

When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems.....

It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters.

A maze of moist cobbled streets host chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10
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.
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.

Good vs evil in a devastated and confused world
"The Third Man" is considered by many as the best British film ever (e.g. British Film Institute 1999 poll, Sight & Sound polls). It is a landmark in worldwide cinema notably for its unique mix of genres: historical, thriller, comedy, tragedy. And it is a brilliant movie about ethics.

The picture is not adapted from an pre-existing book: Graham Greene was tasked to write the screenplay; in order to have a fully consistent plot, he wrote a novel that he immediately adapted for the screen. As Greene modestly admitted in the preface he wrote afterwards: "The film in fact, is better than the story because it is in this case the finished state of the story." The book and the movie plots are very similar, although there are a few significant variances, for instance the novel is narrated by the Major and ends differently (on the latter, more below).


"The Third Man" starts as a historical account of post-war Vienna. The opening speech portrays the chaos in Europe. The plot revolves around black market, some relatively harmless (clothes, watches, identity papers, etc.), some deadly: penicillin, which is historically accurate. Throughout the film, we see different parts of Vienna, once a splendour of culture and history, partly destroyed as many major cities were. Some scenes are tragic, notably the one in the children's hospital.

Rapidly, the movie evolves into a thriller. Was Harry victim of an accident or a murder? Who was the third man? This mystery remains unsolved, although it could be Harry himself. Then the porter is also murdered and Holly closely escapes assassination. There are three chases (Holly and Anna, Holly, Harry).

The comical elements are continuously present, except at the end. Holly is a small-time writer of ridiculous novels, getting drunk, attracting trouble and failing with women. The excellent score adds a sarcastic tone to the whole story. (However, in my opinion the music is sometimes too present and partly spoils scenes that would have been better off silent. Also this reduces the impact of music when needed.)

The combination of these styles is easy but efficient. One example: when the military are tracking Harry… a balloon-seller barges in! Another: Holly is brutally driven by a taxi to an unknown destination and thinks he will be killed (thriller). But he is actually dropped at a conference… that is a disaster (comedy). However two killers show up so he has to run (thriller)… and gets bitten by a parrot (comedy).

Above all these elements, the motif about good versus evil is dominant. We see a shattered world that has lost its ethics. Some cynically take advantage, some stick to their values: Holly and Harry, once friends, are antagonists. But is it so simple? Holly is on the good side, yet because of his blunders the porter and the Sergeant get killed. The Major blackmails Anna to get information (no trifle matter: she could get deported by the Soviets). Anna loves Harry regardless. She says: "He is part of me." In this upside-down society, references are blurred: the porter points up to designate hell and down for paradise; Anna tells the Major "You have everything the wrong way around"; she sometimes calls Holly "Harry"; a key scene happens in the Ferris wheel where the world turns around; the sewer with its foul smell ends up in the romantic "blue Danube" as the Sergeant point out.

And the main villain is seducing. At first mysterious (he only progressively appears after an hour), he turns out to be extremely intelligent. His speech in the wheel is at the same time ignominious and rhetorically impressive. It is not easy to answer the question: why do we stay moral? Orson Welles is outstanding in this role: his performance is so powerful we think he appears on screen longer than an actual cumulated five minutes. On top of being a great director, he was a great actor.

Visually, the historical and moral instability is expressed by frequent darkness, shadows and inclined shots, where we constantly feel buildings and characters are going to fall. (In my opinion, these shots are somewhat too systematic, even though they make their point.) We are lost like Holly. Many dialogues are in German without subtitles.

Eventually, the movie rightfully ends in the sewer. Aesthetically stunning, this sequence is symbolic in different ways. The underground is where villains escape the law by crossing borders: it represents the evil, underlying part of this confused society. When everybody but Anna goes down there, they want to extirpate evil from its roots. Also, when Harry is looking for a way out, voices emerge from the dark tunnels that look like funerary steles: it is as if he guiltily heard the people he murdered talking to him. Last, the sewer feels anthropomorphic: complex, dark, liquid, noisy, with different levels and small tubes. Hence symbolically characters dive inside their subconscious to be confronted to their evil part: Holly faces Harry for the last time. Their gazes are similarly intense. Harry nods to Holly, a sign of agreement and/or understanding.

This famous climatic sequence is followed by one of the greatest closing shots of cinema history. After the funeral, Holly waits for Anna. The image is deep, in the axis of the road. Leaves are falling. Music is playing softly. Anna is a small figure that progressively grows bigger. Slowly, she just walks past Holly without a look and moves out of the frame. He is left alone. (It constitutes an important difference with the novel, which ends happily: Holly and Anna walk together holding arms. But Carol Reed thankfully imposed his ending.)

It is a dazzling shot, slow and melancholic, crowning an uneven yet compelling movie. Anna despises Holly for his law-abiding betrayal. It is one of the dramas about life: we sometimes prefer charismatic bastards to honest fools, and love is blind.
Perfection in Black and White
I haven't watched this for 30 years. It is the consummate example of using light and darkness to produce effect. It involves the death of one Harry Live (Orson Welles) and the attempt by a friend to juggle his loyalties with his moral duty to try to fathom the circumstances. This is a film about mood and face. It's a bit expressionistic and off kilter. The one most important thing is that it fires on all cylinders. Joseph Cotten is magnificent as the man who steps into more than he knows. He meets a woman who despite LIme's evildoing can't stop loving him. As soon as we expect something to happen, there is a twist. When we expect characters to change they don't. There is a whole series of vignettes that are priceless. One of my favorites is when Cotten, a hack writer of Westerns, is forced to lecture on his literary techniques to a crowd of intellectuals who are asking him questions about James Joyce and others. He is in fear for his life at the time and the whole thing becomes a surreal event. Post war Vienna, Austria, is also a character in this film because it is actually four cities, divided, each with its own idiosyncrasies. This is one of the best films in history and does not disappoint.
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.
This motion picture belongs in the all time top ten list
Notwithstanding 'Citizen Kane', this is the finest movie Orson Welles has ever made. Indeed, this is one of the finest movies anyone has ever made. The classic Welles touch permeates this fine film and anyone who wishes to know what the man was all about should start with this one. All of the actors, fine performers in their own right, seem to have peaked in this movie. I have not read the Graham Greene novel but I would have to believe that, contrary to the usual book/movie comparisons, this movie has surpassed the book. I say this partly because of the almost dreamlike scenes and camera angles , something of a signature of Welles' work, and partly because of the hauntingly lovely strains of Anton Karas' zither, tying one scene to another and delicately enveloping the whole work. A book cannot do that. I don't know how many times I have seen this movie but, like a fine painting, I see it again at each opportunity. If you have not seen this movie you are missing a major contribution to the world of cinematography.
📹 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. 📀