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Graham Greene | 160 pages | 01 Jul 1992 | Penguin Books Ltd | 9780140185331 | English | , The Third Man () - Plot Summary - IMDb

Anna Schmidt as Valli Harry Lime Calloway Popescu Erich Ponto Winkel Wilfrid Hyde-White Crabbin Hedwig Bleibtreu Edit Storyline An out of work novelist, Holly Martins, arrives in a post war divided into sectors by the victorious allies, and where a shortage of supplies has led to a flourishing black market. By a thousand men! By a lovely girl! Edit Did You Know? Selznick , Greene was less than impressed with Selznick, who had according to Selznick's own son "become something of a parody of himself". Greene later mocked Selznick's dependency, at that stage, on the drug Dexedrine, better known as "speed". Coincidentally, Reed also became hooked on Dexedrine whilst shooting the time-consuming film. Both Reed and Selznick were operating on as little as 2 hours of sleep a day. Goofs Martins incorrectly calls Dr. Winkel "Winkel" instead of the correct "Vinkel", even though he has only heard the name pronounced "Vinkel" and not seen it written at all. Quotes Martins : I was going to stay with him, but he died Thursday. Crabbin : Goodness, that's awkward. Martins : Is that what you say to people after death? Additionally, all German speaking actors dubbed themselves. This version also replaces the opening credits. Was this review helpful to you? Yes No Report this. Q: What was the problem with the penicillin? Q: How true is Lime's famous quote? Edit Details Country: UK. Language: English German Russian. Runtime: min. Color: Black and White. Edit page. October Streaming Picks. Additional music for the film was written by the Australian-born composer under the pseudonym of Michael Sarsfield. From until Clifford was working as Musical Director for Korda at London Film Productions , where he chose the composers and conducted the scores for films, as well as composing many original scores of his own. As the original British release begins, the voice of director uncredited describes post-war Vienna from a racketeer's point of view. The version shown in American cinemas cut 11 minutes of footage [36] and replaced Reed's voice-over with narration by as Holly Martins. Selznick instituted the replacement because he did not think American audiences would relate to the seedy tone of the original. Code in A new restored version of the film was released in the United Kingdom on 26 June In , "local critics were underwhelmed", [40] and the film ran for only a few weeks. Still, the Viennese Arbeiter-Zeitung , although critical of a "not-too-logical plot", praised the film's "masterful" depiction of a "time out of joint" and the city's atmosphere of "insecurity, poverty and post-war immorality". In Vienna it's a tragedy about Austria's troubled relationship with its past. Some critics at the time criticised the film's unusual camera angles. Lejeune in described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director , Reed's close friend, sent him a spirit level , with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you? Upon its release in Britain and America, the film received overwhelmingly positive reviews. His eminent gifts for compressing a wealth of suggestion in single shots, for building up agonized tension and popping surprises are fully exercised. His devilishly mischievous humor also runs lightly through the film, touching the darker depressions with little glints of the gay or macabre. Critics subsequently hailed the film as a masterpiece. added the film to his "Great Movies" list and wrote, "Of all that I have seen, this one most completely embodies the romance of going to the movies. remarked that it was an "exemplary piece of moviemaking, highlighting the ruins of World War II and juxtaposing it with the characters' own damaged histories". It became a best-seller; by November , , records had been sold in Britain, with the teen-aged Princess Margaret a reported fan. British Academy Film Awards. Directors Guild of America. National Board of Review. In , viewers of BBC Television's Newsnight Review voted the film their fourth favourite of all time, the only film in the top five made before The film also placed 57th on the 's list of top American films in , though the film's only American connections were its executive co-producer David O. Selznick and its actors Orson Welles and Joseph Cotten. In June , the American Film Institute AFI revealed its 10 Top 10 —the best 10 films in 10 "classic" American film genres—after polling over 1, people from the creative community. The Third Man was acknowledged as the fifth best film in the mystery genre. In the United Kingdom, films of this vintage are copyright protected as dramatic works until 70 years after the end of the year in which that last "principal author" died. This film lapsed into public domain in the United States when the copyright was not renewed after David Selznick 's death. Holder that the copyright clause of the United States Constitution does not prevent the U. Following the ruling, notable films such as The Third Man and The 39 Steps were taken back out of the public domain and became fully copyrighted in the United States. A British radio drama series, The Adventures of Harry Lime broadcast in the US as The Lives of Harry Lime , created as a "prequel" to the film, centres on Lime's adventures prior to his "death in Vienna", and Welles reprises his role as a Lime somewhat less nefarious adventurer anti-hero than the sociopathic opportunist depicted in the film's incarnation. Fifty-two episodes aired in and , several of which Welles wrote, including "Ticket to Tangiers", which is included on and Studio Canal releases of The Third Man. A television spin-off starring as Harry Lime ran for five seasons from to Seventy-seven episodes were filmed; directors included 10 episodes and six episodes. From Wikipedia, the free encyclopedia. This article is about the film. For other uses, see The Third Man disambiguation. American theatrical release poster. . Release date. Running time. United Kingdom [4]. What sort of music it is, whether jaunty or sad, fierce or provoking, it would be hard to reckon; but under its enthrallment, the camera comes into play The unseen -player Main article: . Film portal. Retrieved 2 February British Board of Film Classification. Retrieved 19 February Retrieved 22 March Halliwell's Film Guide. New York: Harper Perennial. Time Out. Archived from the original on 13 February Archived from the original on 16 August Retrieved 22 July Donaghy Conversations With . Jackson, Mississippi: University Press of Mississippi. . Retrieved 23 December Retrieved 2 September Selznick's Hollywood. Alfred A. Welles in the Limelight JonathanRosenbaum. Orson Welles: Interviews. Mississippi: University Press of Mississippi, Korda: Britain's Movie Mogul. Tauris, Carol Reed's The Third Man. Criterion Collection. Retrieved 15 August Journal of Austrian-American History. BBC Four. December Archived from the original on 20 April The Fabulous Orson Welles. Sep 5, Orson Welles The Third Man. Joseph Cotten Holly Martins. Trevor Howard Major Calloway. Anna Schmidt. Paul Hoerbiger Porter. "Baron" Kurtz. Erich Ponto Dr. Siegfried Breuer Popescu. Bernard Lee Sergeant Paine. Hedwig Bleibtreu Anna's Old Landlady. Carol Reed Director. Graham Greene Writer Story. Writer Story. Graham Greene Writer. Alexander Korda Producer. Hugh Perceval Associate Producer. Carol Reed Producer. David O. Selznick Producer. Original Music. Cinematographer. Finding Dory , The People v. June 26, Full Review…. August 11, Full Review…. September 4, Full Review…. December 4, Full Review…. January 5, Full Review…. December 12, Full Review…. View All Critic Reviews Feb 16, All is absurd. The war is over, Vienna is in ruins, and the black market reigns. The Allies have divided the city into zones, and the long reach of the Soviets is beginning to assert itself. When a pulp fiction writer Joseph Cotten arrives looking for his friend but finds he's died under what seem like suspicious circumstances, he doesn't know who to trust. His friend's associates are shady, and the authorities uncaring. Morality itself also seems to be in ruins. Strong direction from Carol Reed, excellent Robert Krasker, and a musical score from Anton Karas based entirely on the zither make for a unique, and very good film. Cotten, Alida Valli the girlfriend , and Trevor Howard the investigating major all turn in solid performances, but it's Orson Welles who is absolutely brilliant, though his role is smaller. His acting is fantastic in the scene at the top of the , where, among other things, he comments so blithely on doing harm to his fellow man by saying "Victims? Don't be melodramatic. Look down there. Tell me, would you really feel any pity if one of those dots stopped moving forever? If I offered you twenty thousand pounds for every dot that stopped, would you really, old man, tell me to keep my money, or would you calculate how many dots you could afford to spare? Free of income tax, old man. Free of income tax - the only way you can save money nowadays. Hitler had just been defeated after almost unimaginable sacrifice and human cost, a real triumph, and yet, evil is still alive and well with humanity. The existential absurdity of it all is accentuated with frequent camera shots which are tilted at odd angles, and that zany zither music. To be honest, I' still not sure how I feel about the music. At times it seemed to provide a nice counterpoint to the action, such as a chase scene through dark streets, highlighting how crazy this nightmare of a situation is, and at other times, it seems comically wacky, and out of place in a noir film. The film is a little methodical in the first hour, but I thought the dry dialog was stylish, and loved the shadows and street scenes. The international flavor and hearing German was nice. Even if you suspect who Welles might be when he shows up, I believe the film effectively wrong foots us, in the sense of who is evil in this story. It turns out that it may just be your old chum, the biggest nightmare of all. It also wrong foots us with that ending, which Reed had to fight for, and which is outstanding. Antonius B Super Reviewer. May 06, Taking an unromantic view of the aftermath of war, the Third Man takes us into the moral decay left after the great battles had finished. John B Super Reviewer. Apr 02, Interestingly, the novella was originally intended to serve as a screenplay of sorts as its author hoped it would be picked up by Hollywood execs and be turned into a feature film. It is for this reason that the story effortlessly translates onto the screen and play as a very well done adaptation. The film, like all good films should, draws from a number of different sources to use varying techniques to tell its story. Like the novella, the film is about a struggling writer who intends to find who killed his friend he was supposed to be staying with during his stay in Italy. The backdrop of a post WWII Italy doesn't add too much to the plot directly, aside of fleshing out the world and giving it a sense of believability. The performances by the film's cast are all top-notch, playing to conventions of the genre, and having immense fun while doing so. Reed shows his craft skills in a film that never slows down and always keeps its audience interested. I have much more to say about the film creatively as its visual language for me is the much more rich aspect of the film. Drawing from the Western, German Expressionism, and Italian Neo-Realism, it runs at a rampant pace from the very opening sequence, and thankfully never slows down. The pace of even the establishing sequence is frenetic, and may be confusing to some. However, it makes sense in the grand scheme of the film, as it's meant to set up the pace for the film's climatic sequence in the sewers. We expect to come back to a frantic scene like the opening, and Reed gives us just that. Our hero is decked out in all the Noir staples - fedora, trench coat, and a nice suit. He loves a good glass of liquor and isn't afraid to approach a woman he's enchanted with. By making him a "convention" The audience is immediately comfortable with our hero. Sure he's not perfect and in no way a "good moral" character, but we know what he's about just by looking at him. The Third Man () - IMDb

Mark Feeney. Reed and screenwriter Graham Greene let the story unfold slowly and deliberately, like the cigarette smoke that floats around the characters, and keep us guessing at every step. Moira MacDonald. Like many, I have loved this thriller of conscience and betrayal most of my moviegoing life. Michael Phillips. This is a film which does away with such cretinous inanity as offering up goodies and baddies, instead presenting its cast of characters as doing things which they believe to be good, but are not seen as such through the eyes of observers. David Jenkins. Andrew O'Hehir. As a mystery, it is average - but as a darkly artistic approach to intrigue, it's masterful. Mike Massie. The writing, the acting, the music, and the locations are so distinct and recognizable that they have become lodged in our consciousness. Allen Almachar. The astounding acting bit, it may turn out, is that contributed by Orson Welles. As the object of this chilling search, Welles for once is pulled back to the size of a gifted actor, a trick for which he and a lot of old Welles' admirers can thank Reed. Jay Carmody. The music is as distinctive as the or Star Wars theme Lisa Nesselson. This film is lively, always moving forward, constantly bubbling with mystery and suspicion and secrets, but the characters are always driving the film. Sean Axmaker. We're seduced out of caring for Greene's weary plot. Welles saves the film and destroys it. Quentin Curtis. Top Box Office. More Top Movies Trailers. Certified Fresh Picks. Black Mirror: Season 5. Into The Dark: Season 2. Lovecraft Country: Season 1. The Mandalorian: Season 1. Saturday Night Live: Season Orphan Black: Season 5. Watchmen: Season 1. The Walking Dead: Season Certified Fresh Pick. View All. Fall TV Log in with Facebook. Email address. Log In. First Name. Last Name. By signing up, you agree to receiving newsletters from . You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. We want to hear what you have to say but need to verify your email. Please click the link below to receive your verification email. Cancel Resend Email. Add Article. The Third Man Critics Consensus This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles. See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Martins develops a conspiracy theory after learning of a "third man" present at the time of Harry's death, running into interference from British officer Maj. Carol Reed. Sep 5, Orson Welles The Third Man. Joseph Cotten Holly Martins. Trevor Howard Major Calloway. Alida Valli Anna Schmidt. Paul Hoerbiger Porter. Ernst Deutsch "Baron" Kurtz. Erich Ponto Dr. Siegfried Breuer Popescu. Apparently, the filming of the sewer scenes was moved to studios in the UK as a result of Welles' complaints about shooting in the actual sewers. Reed had four different camera units shooting around Vienna for the duration of the production. He worked around the clock, using Benzedrine to stay awake. Looking down on the people below from his vantage point, Lime compares them to dots, and says that it would be insignificant if one of them or a few of them "stopped moving, forever". Back on the ground, he notes:. You know what the fellow said — in Italy, for 30 years under the Borgias , they had warfare, terror, murder and bloodshed, but they produced , Leonardo da Vinci and the . In Switzerland, they had brotherly love; they had five hundred years of democracy and peace — and what did that produce? The cuckoo clock. Welles added this remark — in the published script, it is in a footnote. Greene wrote in a letter, [27] "What happened was that during the shooting of The Third Man it was found necessary for the timing to insert another sentence. What more worthy people! For this was Tell a hero! For this did Gessler die! There the people have everything in the form of natural advantages — mountains, valleys and blue sky. And what have they produced? The cuckoo clock! Or it may be that Welles was influenced by Geoffrey Household , who wrote, in , in his novel Rogue Male : " A people, my dear fellow, of quite extraordinary stupidity and immorality. A combination which only a long experience of democratic government could have produced. This Is Orson Welles quotes Welles: "When the picture came out, the Swiss very nicely pointed out to me that they've never made any cuckoo clocks," [29] as the clocks are native to the German Black Forest. Writer John McPhee pointed out that when the Borgias flourished in Italy, Switzerland had "the most powerful and feared military force in Europe" and was not the peacefully neutral country it would later become. William Whitebait, and Nation [31]. Anton Karas composed the musical score and performed it on the zither. Before the production came to Vienna, Karas was an unknown performer in local Heurigers. According to Time : [32]. The picture demanded music appropriate to post-World War II Vienna, but director Reed had made up his mind to avoid schmaltzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, [and] was fascinated by the jangling melancholy of his music. According to , Reed met Karas by coincidence at a party in Vienna, where he was playing the zither. Additional music for the film was written by the Australian-born composer Hubert Clifford under the pseudonym of Michael Sarsfield. From until Clifford was working as Musical Director for Korda at London Film Productions , where he chose the composers and conducted the scores for films, as well as composing many original scores of his own. As the original British release begins, the voice of director Carol Reed uncredited describes post-war Vienna from a racketeer's point of view. The version shown in American cinemas cut 11 minutes of footage [36] and replaced Reed's voice-over with narration by Joseph Cotten as Holly Martins. Selznick instituted the replacement because he did not think American audiences would relate to the seedy tone of the original. Code in A new restored version of the film was released in the United Kingdom on 26 June In Austria, "local critics were underwhelmed", [40] and the film ran for only a few weeks. Still, the Viennese Arbeiter-Zeitung , although critical of a "not-too-logical plot", praised the film's "masterful" depiction of a "time out of joint" and the city's atmosphere of "insecurity, poverty and post-war immorality". In Vienna it's a tragedy about Austria's troubled relationship with its past. Some critics at the time criticised the film's unusual camera angles. Lejeune in The Observer described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler , Reed's close friend, sent him a spirit level , with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you? Upon its release in Britain and America, the film received overwhelmingly positive reviews. His eminent gifts for compressing a wealth of suggestion in single shots, for building up agonized tension and popping surprises are fully exercised. His devilishly mischievous humor also runs lightly through the film, touching the darker depressions with little glints of the gay or macabre. Critics subsequently hailed the film as a masterpiece. Roger Ebert added the film to his "Great Movies" list and wrote, "Of all the movies that I have seen, this one most completely embodies the romance of going to the movies. Gene Siskel remarked that it was an "exemplary piece of moviemaking, highlighting the ruins of World War II and juxtaposing it with the characters' own damaged histories". It became a best-seller; by November , , records had been sold in Britain, with the teen-aged Princess Margaret a reported fan. British Academy Film Awards. Directors Guild of America. National Board of Review. In , viewers of BBC Television's Newsnight Review voted the film their fourth favourite of all time, the only film in the top five made before The film also placed 57th on the American Film Institute 's list of top American films in , though the film's only American connections were its executive co-producer David O. Selznick and its actors Orson Welles and Joseph Cotten. In June , the American Film Institute AFI revealed its 10 Top 10 —the best 10 films in 10 "classic" American film genres—after polling over 1, people from the creative community. The Third Man was acknowledged as the fifth best film in the mystery genre. In the United Kingdom, films of this vintage are copyright protected as dramatic works until 70 years after the end of the year in which that last "principal author" died. This film lapsed into public domain in the United States when the copyright was not renewed after David Selznick 's death. Holder that the copyright clause of the United States Constitution does not prevent the U. Following the ruling, notable films such as The Third Man and The 39 Steps were taken back out of the public domain and became fully copyrighted in the United States. A British radio drama series, The Adventures of Harry Lime broadcast in the US as The Lives of Harry Lime , created as a "prequel" to the film, centres on Lime's adventures prior to his "death in Vienna", and Welles reprises his role as a Lime somewhat less nefarious adventurer anti-hero than the sociopathic opportunist depicted in the film's incarnation. Fifty-two episodes aired in and , several of which Welles wrote, including "Ticket to Tangiers", which is included on the Criterion Collection and Studio Canal releases of The Third Man. A television spin-off starring Michael Rennie as Harry Lime ran for five seasons from to Seventy-seven episodes were filmed; directors included Paul Henreid 10 episodes and Arthur Hiller six episodes. From Wikipedia, the free encyclopedia. This article is about the film. For other uses, see The Third Man disambiguation. American theatrical release poster. London Films. Release date. Running time. United Kingdom [4]. What sort of music it is, whether jaunty or sad, fierce or provoking, it would be hard to reckon; but under its enthrallment, the camera comes into play The unseen zither-player Main article: The Third Man Theme. Film portal. Retrieved 2 February British Board of Film Classification. Retrieved 19 February External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime. Director: Carol Reed. Writers: Graham Greene by , Graham Greene screen play. Added to Watchlist. From metacritic. The Evolution of Armie Hammer. Already released. Sinematek Avrupa 1. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Top Rated Movies Won 1 Oscar. Edit Cast Complete credited cast: Joseph Cotten Holly Martins Alida Valli Anna Schmidt as Valli Orson Welles Harry Lime Trevor Howard Calloway Bernard Lee Popescu Erich Ponto Winkel Wilfrid Hyde-White Crabbin Hedwig Bleibtreu Edit 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 led to a flourishing black market. By a thousand men! By a lovely girl! Edit Did You Know? Selznick , Greene was less than impressed with Selznick, who had according to Selznick's own son "become something of a parody of himself". The Third Man | Where to Stream and Watch | Decider

But Reed kept the camera running, making it an unusually long shot, and absolutely perfect. It's a story about grownups and children: Adults like Calloway, who has seen at first hand the results of Lime's crimes, and children like the trusting Holly, who believes in the simplified good and evil of his Western novels. Both heroes love a woman battered by the war. But "Casablanca" is bathed in the hope of victory, while "The Third Man" already reflects the years of paranoia, betrayal and the Bomb. The hero doesn't get the girl in either movie--but in "Casablanca," Ilsa stays with the resistance leader to help in his fight, while in "The Third Man" Anna remains loyal to a rat. Yet Harry Lime saved Anna, a displaced person who faced certain death. Holly will never understand what Anna did to survive the war, and Anna has absolutely no desire to tell him. Of all the movies I have seen, this one most completely embodies the romance of going to the movies. I saw it first on a rainy day in a tiny, smoke- filled cinema on the Left Bank in Paris. It told a story of existential loss and betrayal. It was weary and knowing, and its glorious style was an act of defiance against the corrupt world it pictured. Seeing it, I realized how many Hollywood movies were like the pulp Westerns that Holly Martins wrote: naive formulas supplying happy endings for passive consumption. I read the other day that they plan to remake "The Third Man. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Reviews The Third Man. Roger Ebert December 08, Harry Lime, underground. Now streaming on:. Powered by JustWatch. Now playing. Misbehaviour Sheila O'Malley. The Mortuary Collection Roxana Hadadi. Yellow Rose Carlos Aguilar. Film Credits. Latest blog posts. 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 led 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. However, upon his arrival, Martins is told that Lime died in an accident. Driven to investigate Lime's death, Martins soon discovers incredible dark secrets about Lime's life and death. In the post Second World War, the unemployed pulp fiction writer Holly Martins arrives in Vienna to meet with his old friend from school, Harry Lime, who has offered him a job. On the arrival, he learns that Harry has just died, hit by a truck in front of his building, and he goes to his funeral. Holly Martins sees a beautiful woman, Anna Schmidt, and a friend of Harry and sooner he learns that Anna was Harry's lover. This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles. Rate this movie. Oof, that was Rotten. Meh, it passed the time. So Fresh: Absolute Must See! You're almost there! Just confirm how you got your ticket. Cinemark Coming Soon. Regal Coming Soon. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. Seventy years on such sombreness seems timely, as does Harry Lime, Welles's deliciously elusive antihero. Ed Potton. Krasker's camera reveals a dank, matte, defeated city - so dully vivid as to be a character unto itself - except that this Vienna becomes something altogether different seen at night or underground. Mark Feeney. Reed and screenwriter Graham Greene let the story unfold slowly and deliberately, like the cigarette smoke that floats around the characters, and keep us guessing at every step. Moira MacDonald. Like many, I have loved this thriller of conscience and betrayal most of my moviegoing life. Michael Phillips. This is a film which does away with such cretinous inanity as offering up goodies and baddies, instead presenting its cast of characters as doing things which they believe to be good, but are not seen as such through the eyes of observers. David Jenkins. Andrew O'Hehir. As a mystery, it is average - but as a darkly artistic approach to intrigue, it's masterful. Mike Massie. The writing, the acting, the music, and the locations are so distinct and recognizable that they have become lodged in our consciousness. Allen Almachar. The astounding acting bit, it may turn out, is that contributed by Orson Welles. As the object of this chilling search, Welles for once is pulled back to the size of a gifted actor, a trick for which he and a lot of old Welles' admirers can thank Reed. Jay Carmody. The music is as distinctive as the James Bond or Star Wars theme Lisa Nesselson. This film is lively, always moving forward, constantly bubbling with mystery and suspicion and secrets, but the characters are always driving the film. Sean Axmaker. We're seduced out of caring for Greene's weary plot. Welles saves the film and destroys it. Quentin Curtis. Top Box Office. More Top Movies Trailers. Certified Fresh Picks. Black Mirror: Season 5. Into The Dark: Season 2. Lovecraft Country: Season 1. The Mandalorian: Season 1. Saturday Night Live: Season Orphan Black: Season 5. Watchmen: Season 1. The Walking Dead: Season Certified Fresh Pick. View All. Fall TV Log in with Facebook. Email address. Log In. First Name. Last Name. By signing up, you agree to receiving newsletters from Rotten Tomatoes. You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. We want to hear what you have to say but need to verify your email. Please click the link below to receive your verification email. Cancel Resend Email. Add Article. The Third Man Critics Consensus This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles. See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. How did you buy your ticket? View All Videos 1.

The Third Man - Wikipedia

Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime. Director: Carol Reed. Writers: Graham Greene by , Graham Greene screen play. Added to Watchlist. From metacritic. The Evolution of Armie Hammer. Already released. Sinematek Avrupa 1. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Top Rated Movies Won 1 Oscar. Edit Cast Complete credited cast: Joseph Cotten Holly Martins Alida Valli Anna Schmidt as Valli Orson Welles Harry Lime Trevor Howard Calloway Bernard Lee Popescu Erich Ponto Winkel Wilfrid Hyde-White Crabbin Hedwig Bleibtreu Edit 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 led to a flourishing black market. By a thousand men! By a lovely girl! Edit Did You Know? Selznick , Greene was less than impressed with Selznick, who had according to Selznick's own son "become something of a parody of himself". Greene later mocked Selznick's dependency, at that stage, on the drug Dexedrine, better known as "speed". Coincidentally, Reed also became hooked on Dexedrine whilst shooting the time-consuming film. Both Reed and Selznick were operating on as little as 2 hours of sleep a day. Goofs Martins incorrectly calls Dr. Winkel "Winkel" instead of the correct "Vinkel", even though he has only heard the name pronounced "Vinkel" and not seen it written at all. Quotes Martins : I was going to stay with him, but he died Thursday. Crabbin : Goodness, that's awkward. Cancel Resend Email. Add Article. The Third Man Critics Consensus This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles. See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Martins develops a conspiracy theory after learning of a "third man" present at the time of Harry's death, running into interference from British officer Maj. Carol Reed. Sep 5, Orson Welles The Third Man. Joseph Cotten Holly Martins. Trevor Howard Major Calloway. Alida Valli Anna Schmidt. Paul Hoerbiger Porter. Ernst Deutsch "Baron" Kurtz. Erich Ponto Dr. Siegfried Breuer Popescu. Bernard Lee Sergeant Paine. Hedwig Bleibtreu Anna's Old Landlady. Carol Reed Director. Graham Greene Writer Story. Alexander Korda Writer Story. Graham Greene Writer. Alexander Korda Producer. Hugh Perceval Associate Producer. Carol Reed Producer. David O. Selznick Producer. Anton Karas Original Music. Robert Krasker Cinematographer. Finding Dory , The People v. June 26, Full Review…. August 11, Full Review…. September 4, Full Review…. December 4, Full Review…. January 5, Full Review…. December 12, Full Review…. View All Critic Reviews Feb 16, All is absurd. The war is over, Vienna is in ruins, and the black market reigns. The Allies have divided the city into zones, and the long reach of the Soviets is beginning to assert itself. When a pulp fiction writer Joseph Cotten arrives looking for his friend but finds he's died under what seem like suspicious circumstances, he doesn't know who to trust. His friend's associates are shady, and the authorities uncaring. Morality itself also seems to be in ruins. Strong direction from Carol Reed, excellent cinematography Robert Krasker, and a musical score from Anton Karas based entirely on the zither make for a unique, and very good film. Cotten, Alida Valli the girlfriend , and Trevor Howard the investigating major all turn in solid performances, but it's Orson Welles who is absolutely brilliant, though his role is smaller. His acting is fantastic in the scene at the top of the Ferris wheel, where, among other things, he comments so blithely on doing harm to his fellow man by saying "Victims? Don't be melodramatic. Look down there. Tell me, would you really feel any pity if one of those dots stopped moving forever? If I offered you twenty thousand pounds for every dot that stopped, would you really, old man, tell me to keep my money, or would you calculate how many dots you could afford to spare? Free of income tax, old man. Free of income tax - the only way you can save money nowadays. Hitler had just been defeated after almost unimaginable sacrifice and human cost, a real triumph, and yet, evil is still alive and well with humanity. The existential absurdity of it all is accentuated with frequent camera shots which are tilted at odd angles, and that zany zither music. To be honest, I'm still not sure how I feel about the music. At times it seemed to provide a nice counterpoint to the action, such as a chase scene through dark streets, highlighting how crazy this nightmare of a situation is, and at other times, it seems comically wacky, and out of place in a noir film. The film is a little methodical in the first hour, but I thought the dry dialog was stylish, and loved the shadows and street scenes. The international flavor and hearing German was nice. Even if you suspect who Welles might be when he shows up, I believe the film effectively wrong foots us, in the sense of who is evil in this story. It turns out that it may just be your old chum, the biggest nightmare of all. It also wrong foots us with that ending, which Reed had to fight for, and which is outstanding. Antonius B Super Reviewer. May 06, Taking an unromantic view of the aftermath of war, the Third Man takes us into the moral decay left after the great battles had finished. John B Super Reviewer. Apr 02, Interestingly, the novella was originally intended to serve as a screenplay of sorts as its author hoped it would be picked up by Hollywood execs and be turned into a feature film. It is for this reason that the story effortlessly translates onto the screen and play as a very well done adaptation. The film, like all good films should, draws from a number of different sources to use varying techniques to tell its story. Like the novella, the film is about a struggling writer who intends to find who killed his friend he was supposed to be staying with during his stay in Italy. The backdrop of a post WWII Italy doesn't add too much to the plot directly, aside of fleshing out the world and giving it a sense of believability. The performances by the film's cast are all top- notch, playing to conventions of the Film Noir genre, and having immense fun while doing so. Reed shows his craft skills in a film that never slows down and always keeps its audience interested. I have much more to say about the film creatively as its visual language for me is the much more rich aspect of the film. Drawing from the Western, German Expressionism, and Italian Neo-Realism, it runs at a rampant pace from the very opening sequence, and thankfully never slows down. The pace of even the establishing sequence is frenetic, and may be confusing to some. However, it makes sense in the grand scheme of the film, as it's meant to set up the pace for the film's climatic sequence in the sewers. We expect to come back to a frantic scene like the opening, and Reed gives us just that. Our hero is decked out in all the Noir staples - fedora, trench coat, and a nice suit. He loves a good glass of liquor and isn't afraid to approach a woman he's enchanted with. By making him a "convention" The audience is immediately comfortable with our hero. Sure he's not perfect and in no way a "good moral" character, but we know what he's about just by looking at him. Reed is smart in playing to staples of the Noir genre so that he can focus his attention on the plot - the mystery, what happened to Henry Lime? Schmidt is another example of this. Almost every scene has some sort of double entendre going on, usually through the dialogue. Schmidt as a character for example, is an actress, which is almost always used to echo someone's own character arch in the plot. Actors are people who pretend, and become other people - and as the plot thickens, we see Schmidt do this herself, wanting to become one thing for Holly while holding onto the life she had with Lime; we're never really sure if she's leading Holly on until the last act. In the scene in which Holly and Schmidt go to a bar, they both drink whiskey, and one of the villains, Baron Kurtz, orders two double whiskeys. This is an implication that he is a double-crosser, one who isn't honest with Schmidt or Holly. This motif of "having your cake and eating it too" is in some way portrayed by every character. Visual motifs are used constantly, through alcohol, a small boy, and animals. Cats seem to be associated with the protagonist, but shown in a scene of calm, while a small dog belongs to Kurtz, an antagonist, implying that he is a "dog". Lime and Holly meet at a rundown carnival - a place of fun juxtaposing this dramatic, intense moment between friends as their friendship is coming undone. They hop aboard a Ferris wheel and as they reach the top the wheel, so does the height of their conversation. The final shot of the film combines all of the film styles that Reed employs. It is a long shot, composed to let the audience notice the background, a landscape; this is a western convention. It shows our hero, smoking, waiting for his woman, leaving his airplane ticket for love; very much a noir setup. And finally, instead of running to his arms for the smooch that would seal it all, she rejects him, off to fulfill her own life. She doesn't need a man right now; employing realism. This is fantastically executed film and one for any who enjoy Film Noir and its charming conventions. Joshua H Super Reviewer. https://static.s123-cdn-static.com/uploads/4636965/normal_601f1f3c5ce78.pdf https://static.s123-cdn-static.com/uploads/4637049/normal_601f982ff3451.pdf https://static.s123-cdn-static.com/uploads/4643731/normal_6020adc53663d.pdf https://files8.webydo.com/9592141/UploadedFiles/0835F032-CB73-DDE0-5D43-7B4E12BAC434.pdf https://static.s123-cdn-static.com/uploads/4639222/normal_601f386454298.pdf https://files8.webydo.com/9588130/UploadedFiles/72A478EA-B886-40B0-0451-F20FEFEC1A98.pdf https://static.s123-cdn-static.com/uploads/4640268/normal_60207cc5af853.pdf https://files8.webydo.com/9586667/UploadedFiles/C48979D6-9649-5363-0B2C-DF434B89EC98.pdf