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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
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!
Watched it last night. I was not engrossed, which surprised me. The main character is a writer of some sort, but he completely lacks imagination. He's entirely straight-forward, utterly lacking in the nuanced sophistication that makes for a good investigator. The motivations of many of the characters are dubious at best, such as the appearance of the Third Man. Orson Welles did fine, but the role is not as legendary and epic as we are lead to believe. Not seeing this film will not make one any less of a film connoisseur.

The camera-work, shadows, and atmosphere are to be commended. The actors other than Joseph Cotten are very good. Overall, it makes for a "so-so" film by today's standards. Some older films created tension quite well, but this film simply doesn't, which is probably a prerequisite for a thriller to succeed, no?
A work of ART
This movie starts REALLY slow. I mean you have to watch half of the movie before anything happens. It's worth the wait. Unfortunately I don't have much to add that hasn't been said before, the plot, the writing, the actors, the staging, the lighting, the cinematography, the music, everything is a work of art. Every detail is perfect too. Many are unrepeatable. We will never see bombed out Vienna again, and certainly not like Carol Reed showed it. Then there is Holly Martins, the pulp fiction writer in a pulp fiction noir movie written by Graham Greene. And it goes on and on, but I've reached my ten lines. They don't make the like they used to...
The Greatest Movie of All Time
The Third Man is the most perfectly executed movie I have ever seen. All the performances are perfect. The camera work is as innovative as Citizen Kane's. The Screenplay by Graham Greene is the greatest ever to be used on screen (even though he didn't write Orson Welles speech about the Cuckoo Clock). The film also has historical importance as a living reminder of the impact of World War II on Vienna and the world in general. The messages of this film have haunted ever since I first saw it, and the suspense sequences are first rate. Carol Reed should have gotten his best director Oscar for this and not Oliver. Anyone who wants to see a truly great film should do whatever they can to get their hands on a copy of this masterwork.
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++
"Have you ever seen any of your victims?"
Vienna once, a romantic thriller story and hunt for the dead man. A rough picture of what represents this great movie. The third man is the film which is set located in the city who did not recover from the Second World War and the Allied occupation forces have the main say. Extremely impressive are authentic locations of devastated city, great photos, scenery and noir style. The atmosphere skillfully shows us all the anxiety caused by the beginnings of the Cold War. All this in a movie about two friends, who do not seem to know much about each other. They love the same woman.

The bottom line is finding. The novelty is the black market. The element that has stepped up the plot. The problem is in man, not in situations. The story boils down to the suspicious death of a good friend which remains unsolved case of the third man. From that moment all the skilled thriller game between tension and climax. Very good dialogue accompanies even better humor that pervades between light joke to the grisly interruption.

It is simply amazing to see well-constructed script in the complex drama. Despite the fact that after all the acts is calculated and well designed, the voltage is present. Of course, there those hasty turnaround, but when all is summed up would be superfluous.

The acting is pretty good.

Joseph Cotten as Holly Martins is in a double error. Friendship and romance. Alida Valli as Anna Schmidt is a good girl who chooses between the living and the "dead" man. The fact is that she runs away or just passing. Trevor Howard as Major Calloway is a British police major who with a lot of experience leading the investigation. The protagonist who took advantage of misleading in that they hoped the main characters. Orson Welles as Harry Lime is a treacherous criminal, friend and lover, who in the darkness shows the shadow of the third man.

I'm just thrilled. In the last sentence I will boast of great music. Rhythmic, creepy, sad, provocative ... different and excellent.
Film-Noir of a Different Kind
Much like the entrance of Laura in the film LAURA, Harry Lime's entrance into the dark world of post-war Vienna is one of the most unforgettable of all times and effectively erased any memory that Joseph Cotten, the main hero (and alter-ego of Graham Greene) was even in THE THIRD MAN. Photographed under an opening window in a deserted Vienna street, Lime comes into focus as a fleeting face with a smug expression and suddenly we remember Orson Welles was included in the credits. It's a very powerful moment -- one which has us, the viewer, shift our consciousness into wanting to see more of him, wanting to get to know him even if he is a shady, corrupted character. It's the One Moment in the film when it seems that time (in a country that makes clocks, something that Lime makes a joking reference to later on) stops dead in its tracks.

THE THIRD MAN is the one film-noir that doesn't have a treacherous femme fatale and the usual suspects but shady people and a growing sense of doom and despair. That in essence is the very nature of film-noir, where it began before demanding the appearance of a sexy blonde with evil intentions. A political theme and espionage reigns throughout without it ever being as much as hinted at, and betrayal is at every corner, something that Hitchcock would have loved had he directed this film. There is a distant echo of CASABLANCA reflected in the threesome at the center of this story with Anna being the reserved woman in the middle but this is not a lush romance. If anything, there is a strong anti-romantic sentiment here, not only because Anna has been irrevocably separated from Lime but she also will not be the one whom Cotten's Martins gets at the end. And in that sense, that pessimism is what film-noir is about.
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.
Worth watching Noir
A novelist travel to beautiful city of Vienna invited by his friend Harry Lime. When he arrives in Vienna, he receives the bad news that his friend was part of a traffic accident. Accident that killed his friend. An accident? Holly Martins doesn't think so. So he end up investigating the case.

A wonderful story written perfectly by Graham Greene where piece by piece changes our mind where the story and characters are going. This movie is a masterpiece of cinematography. Streets and magnificent views of post-war Vienna.

Orson Welles had not much minutes on the screen, but he did a great performance. Anyway, the whole cast was great.

Overall I liked The Third Man, but there are some better Film-Noir movies I've seen.
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.
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