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Purchase The Third Man (1949) Movie Online and Download - Carol Reed 🎥
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 Purchase
DVD-rip 512x384 px 701 Mb mpeg4 931 Kbps avi Purchase
One of the greatest if not the best film-noir
One of the greatest if not the best film-noir in film history. Joseph Cotten perfectly portrayed an American novelist who led himself investigating the strange death of an old friend and Orson Welles (although he only appeared less than half an hour in the film) is still brilliant. His first quick shot is really stunningly surprising, and one of the unforgettable part of the film. In that revelation, he didn't say anything, that's the magic of it. You can only see gestures in his face, and it's a terrific acting, without a single word. The unforgettable zither score of Anton Karas did not win an Oscar nor even a nomination, but Robert Krasker's skill in photography did. Krasker's light and shadow technique is a masterpiece, you can feel the wetness of the ground, and it is perfect in a black-and-white motion picture.
My favourite film of all time (probably)
I have seen the Third Man more times than I care to remember, both on small and large screen and it still appears fresh - it is really hard to see how the film could have been very much better made. The casting is perfect, even the hype surrounding Wells, and the way he is kept in the background for half the movie, and the cinematography is amongst the best you will see. And look out for the strong supporting roles (Trevor Howard's cynical army officer through to Wilfred Hyde White's slightly dotty cultural liaison officer). In conjunction with the fortuitous use of Anton Karas' zither score, this is a movie you will want to come back to time and time again. Enjoy.

PS there is a very good BBC documentary on the making of the film - well worth catching if you can!
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.
True masterpiece
From today's perspective this story is nothing special, even though it is a bit ahead of its time. Acting, music, directing, everything's good, but not that much to put this movie in ranks with best accomplishments of all times. What makes this movie so special is one of the most deserved Best Cinematography Academy Awards in movie history. Although this movie is from the ancient 1949. cadres, angles, play of light and shadow is still fascinating even today. Especially at the very end of the movie where grand finale in sewers and epilogue at graveyard left me breathless. In the endless sea of Hollywood hyper-production it is good to see such a masterpiece every now and then and remind yourself why are movies considered to be form of art.

The word "great" is not enough for The Third Man
The Third Man is definitely a successful experience for Carol Reed in the late 40's when most films made were boring and dull and full of cliché.But The Third Man is a movie that stands alone with it's unique union of different elements that brought together skillfully makes for an entertaining,unforgettable,suspenseful,Hitchcockian and yet influential movie.

The story is fantastic (Both screenplay and especially Graham Greene's story).The story has one excellent turning point in the middle of the film,where we realize (or make sure) that Harry is in fact alive.From this moment,the story totally changes way from Holly Martins trying to find out about Harry's supposed death,to him trying to actually get Harry.

The dialoges are smart,the relationship between Holly and Anna is really interesting.The movie has a very interesting and unusual sense of humor both hitting our minds using strangely and suspensefully funny dialoges,especially by Orson Welles playing Harry,and also the great music which was very suitable to the noir style.

The few scenes of the ending were also fascinating,especially the repetition of the scene after the funeral,and also the fact that we,again aren't sure whether Harry is dead or alive.

Actors are great in this:Joseph Cotten,Alida Valli and Trevor Howard all did great performances.But the real thing which made this movie more memorable,was of course Orson Welles,who although being on screen in almost a quarter of the film,was in fact the main actor remembered from this movie.

The cinematography is extraordinary(which won an Oscar).The black and white that makes the sets(especially the wet,almost rainy streets) and actors more enjoyable to watch.Actually,I can't imagine this movie in color.

Afterall,I think a 10 out of 10 is not enough for this movie!The Third Man is definitely one of top 10 movies of all time.
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.
long shadows in the wet streets of Vienna
For me it wasn't an advantage that I knew how well this movie is regarded by most people. My expectations were of course very high also because my favorite film critic from my own country (Denmark) simply regard "the third man" as the best movie he has ever seen. Since I also know Graham Greenes work well, as he is one of my favorite writers, I had expected more.

That Holly Martins is mistaken for a serious and intellectual writer when he is only a writer of "cheap novelettes" can easily be identified as the fingerprint of Mr. Greene; it is a common theme in Greenes books that a person is mistaken for something grander than he really is which poses some very interesting dilemmas. This also leads to one of the humoristic scenes as Martens is invited to talk about "the contemporary novel" at the "cultural reeducation section" which actually is hilarious. He ends up being asked questions about James Joyce and "stream of consciousness" which he of course has no chance in hell to answer since he only writes lousy western novels (like "Bill & Ben" I suppose).

I didn't like the casting of Holly Martins - and I can see that others are critical of him too. His role wasn't interesting either; He wasn't interesting or mysterious – he was just what he appeared to be: an American who wrote cheap books on a mission to find the truth as to why his friend died; all for the wrong and naive reasons.

Anna Schmidt who was Limes mistress was tiresome in the long run. I didn't understand why she had fallen so desperately in love with Lime. Lime appears very charming but still…

I can see from the other reviews, that a memorable part of the movie is the discussion on morality. It is as if Lime almost succeeds in persuading you of his alternative way of seeing the world. And this is scary.

What I really really loved about the film was the photography… Oh my god. The wet and dark Vienna with the long shadows. The faces. Baron Kurtz. Orson Welles.

I can only give this one 6/10 but I will certainly wonder why it didn't appeal more to me.

Regards Simon
Murder, Mystery & Harry Lime
Post-war Vienna. A dangerous city, full of intrigue, crime & sudden death. Notorious American racketeer Harry Lime starts to cross a street. There is an accident and he is killed instantly. Or is he? His body is carried to the sidewalk by two friends. Or does another man assist them? If so, who is THE THIRD MAN and what does he know about Lime's suspicious death?

Such is the puzzle at the beginning of what many consider to be the greatest film ever made. Its glories are so obvious that it is almost futile to pick out any for observation: the marvelous sewer chase, the balloon man, the little boy with the ball, the giant wheel, the cuckoo clock speech & the long closing walk across the cemetery. All of these linger in the mind, becoming permanent residents of our cinematic subconscious.

The entire cast is excellent: Joseph Cotton as Lime's American friend trying to piece together what has happened; Trevor Howard as the stalwart British Major of Police; gorgeous Valli as Harry's faithful lover; Bernard Lee as the tragic Police Sergeant; Wilfrid Hyde-White as a dithering English cultural attaché. And then there's Orson Welles...

The character of Harry Lime, alive or dead, on-screen or not, is one of cinema's most fascinating villains. Charming & deadly as any cobra, he attracts & repels at the same moment. It is interesting to note that BBC Radio resurrected the character for the series 'The Lives of Harry Lime' very shortly after the film's release. Harry was not allowed to stay in his grave for long...

Three more items of note: (1) The cinematography is first-rate, making Vienna by night look almost lunar. (2) Orson Welles' first appearance on screen is a real dandy. (3) Above & around & through everything is the famous zither music of Anton Karas, which becomes like a Greek Chorus, commenting on the action. Its complete silence during the sewer chase only underscores the starkness of the sequence.
Classic Welles, Classic Greene
The Third Man is classic film noir. Combining the genius of Welles and Greene, the film tells the story of Holly Martins (Cotten), a writer of pulp western arriving in post-war Vienna, discovering that his school-boy friend Harry Lime (Welles), has met his end. Martins' curiosity into the events surrounding Lime's death are well founded as he seeks to find the truth surrounding Lime's death. What he finds about his friend Lime is the catch. Classic Welles, classic Greene...don't miss this film.
A Masterpiece in It's Own Right
I am not going to rehash what has been said in other comments other than that Orson Welles and Joseph Cotten were at their best. Rather, an aside or two about the film. At the time Welles was trying to make his own films and took the Harry Lime role only for the money. Anton Karras, the zither player, was found in a dingy, cellar cafe in Vienna. Becoming well known for the background music and then his "Third Man Theme" record which was a tremendous hit worldwide, he was talked into opening a nightclub in London. Even though the nightclub was successful, Karas yearned for his former life and packed it in, going back underground to the cellar cafe in Vienna to play his zither. In one scene in the film Cotten has finished a talk on American writers. He runs up the hotel stairs pursued by two assassins and enters an empty hotel room. He exits a window, but not before being bitten on a finger by a parrot. I suspect that this "nip" was not in the script, but it resulted in the only amusing scene in the entire film. When asked by military policeman Trevor Howard why his finger was bandaged, Cotten replies "A parrot bit me", invoking an exasperated reply from Howard. I believe this to be the only funny scene in the film and it was over very quickly. Interestingly there was no novel or play that the film was based on. Graham Green was asked to do a screenplay for a film idea, which he did. Who knows? If this was done more often as opposed to films based on books or plays we might have a better variety of films for our viewing these days.
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