The Third Man


Action / Film-Noir / Mystery / Thriller


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July 13, 2015 at 10:22 AM



Orson Welles as Harry Lime
Bernard Lee as Sgt. Paine
Joseph Cotten as Holly Martins
720p 1080p
806.24 MB
23.976 fps
1hr 44 min
P/S 9 / 64
1.63 GB
23.976 fps
1hr 44 min
P/S 7 / 45

Movie Reviews

Reviewed by peanutthegreat 10 / 10

Joseph Cotten is Excellent in Revolutionary Film Noir

"I never knew the Old Vienna, before the war, with its Strauss Music," opens Carol Reed's The Third Man, and we catch a glimpse of the New Vienna, with its Black Market and its Shady Deals. Joseph Cotten plays cheap novelette author Holly Martins, just arrived in Vienna to meet with long-time friend Harry Lime, who offered him a job. He instead meets with the mysterious facts surrounding the death of Lime, learned bit-by-bit from Lime's friends, a woman named Anna Schmidt, who has problems of her own (played excellently by Valli), and two British officers, Calloway and Paine. Learning, that there is more to death of Lime than there seems to be, Martins begins his investigation for the truth. This film was shot with some of the greatest, most ahead-of-its-time cinematography ever, and it creates mystery and deceit. It is complimented by the excellent use of shadows. The soundtrack is essentially one long song, which plays throughout the film, changing and stopping as the emotion calls for. It is a zither composition by Anton Karas made for the film. This is all topped off by an engrossing storyline, and a great performance by Joseph Cotten, as the ordinary man mixed up in this web of mystery.

Reviewed by gogoschka-1 10 / 10

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.

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Reviewed by shanayneigh 2 / 10

Time for Lime

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.

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