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Buy The Third Man 1949 Movie Online 1080p, 720p, BRrip and MOV
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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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++
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.

Must see
Without a lot of hyperbole, this movie is a true must see, a film noir master class and an important landmark in the history of cinema.

A story about individuals living in Vienna after WWII, a place and a time of rebuilding in the context of great loss, both personal and national. The intro narration is a cynical description of the setting but the character introduction is hopeful, perhaps prophesying a brighter future. But subsequent events become increasingly shady and foreboding. The conclusion remains in question until the very last scene.

This is an older movie, and acting styles have changed over the years. And yet, the performances are perfect for the setting and the story given that the movie and the story were made and written around the same time in history, in other words, events in the story were contemporaneous with history. Character arcs are engaging and realistic. The story is, in many ways, about character, the choices individuals make and the consequences that follow, the influence of history on individual choices and the impact of character on history. DEEP.

The cinematography alone is worth several viewings. B&W heaven.

The direction is a healthy mix of Orson Welles, Alfred Hitchcock, and British discipline. Excellent pace, every shot/scene essential. Suspension of disbelief is easy and effortless. The editing is fluid, seamless, invisible if you're not looking for it. That is meant as a compliment.

There are many sub-textual layers to this movie; something that is important to me when recommending a movie as a must see.

I did not give this movie a 10. Why? Perhaps this was not intended but the British character and element came off as higher than thou, arrogant. Didn't like that. Maybe I'm being petty but it seemed that this element changed the thematic focus from existential crisis to political righteousness. Other than that, it's a 10.
Vienna Without a Waltz
Although I am as old as this movie, produced in 1949, I have not aged nearly as well. This film, directed brilliantly by Carol Reed (Odd Man Out, The Fallen Idol) and written by Graham Greene (long list!), beautifully captures the prevailing atmosphere of disruption and chaos that Vienna, a once highly civilized city, experienced during the years that followed World War II. The upheaval is physical, social, economic, political, moral, spiritual. You name it. Vanquished Vienna, conquered by the Allies, was crippled by turmoil in every imaginable way, and we viewers are given the opportunity to experience it up close, right here.

I spent a number of months in Europe during 1971-72 after I graduated from college. Although the war had been over for more than 25 years by then, I was struck by a very pronounced attitude of cynicism on the part of many Europeans regarding uniquely American ideals and principles, which were widely considered to be naive. To me, this film accurately captures this cultural and moral conflict, which lasted for decades and may even survive to this day. "You and your American principles," they would often scoff at me with mocking derision.

What does Anna (Alida Valli) know about the illegal activities of her lover, Harry Lime (Orson Welles), which includes selling diluted penicillin to Vienna's hospitals? For children with meningitis, watered down penicillin was not only useless, but it created an immunity from full strength penicillin so that these afflicted children could never receive effective treatment. Corrupted penicillin is a glaring symbol of a totally corrupted Vienna. Harry surely understands the full dimensions of his business, but what about Anna? Even after the truth about Harry's conduct and his victims is clearly revealed to her, she still sticks by him to the bitter end. Love conquers all? Seriously? While I don't blame her for rejecting the romantic overtures of Holly Martins (Joseph Cotten), who is somewhat of a schnook, what's up with her anyway? She reminds me of the Europeans who never once caught a whiff of the burning flesh from the crematoria of the concentration camps that sat just down the road from where they lived, as if the ill wind never blew in their direction. She is deeply in love with Harry, so just shut up about children with meningitis. OK, Anna, whatever you say, sweetheart. Perhaps those silly 18th century costume comedies in which you appear will provide the escape from reality that you so desperately seek, dear. At least you manage to crack a smile, as weak as it is, beneath your powdered wig on stage.

From beginning to end, the unusual camera angles, the dark, somber, mostly abandoned sidewalks of Vienna, and those drenched cobblestone streets contribute to the overall eerie and foreboding atmosphere of the film, which was remarkably photographed by Australian Robert Krasker (Odd Man Out, Brief Encounter). Unforgettable images and characters appear before us, emphasizing an overall mood of mayhem and awkwardness from every direction. We witness, for example, Anna's landlady, draped in a bedspread for warmth and extremely anguished by the disruptive presence in her house of foreign invaders hailing from not one but four different nations. Then we observe one of those ludicrous, bureaucratic "cultural re-education conferences" offered to the Viennese by the allied victors, presumably to rehabilitate them after seven years of Nazi domination. And where the heck did the balloon seller come from as he pathetically peddles his merry merchandise on the dark, nocturnal streets of Vienna, which are not only completely void of children at the time but of people in general?

And what of the inquisitive, confused character of Holly Martins, played with lithe agility by Joseph Cotten? If he has been a successful writer of widely consumed western novels that even the young British sergeant happens to read, why is he broke, and what kind of job would Lime have offered him in an unfamiliar, German-speaking Vienna that is gripped by post World War II disorder, unemployment, and foreign occupation? Construction perhaps?

While some reviewers have problems with the zither music of Anton Karas, I think that it contributes to the general atmosphere of nervous tension and uneasiness that pervades the air throughout the duration of the movie. Would you prefer Strauss waltzes instead? They wouldn't be nearly as effective in reinforcing the overwhelming atmosphere of chaos, even insanity, that plagues Vienna on so many levels.

Finally, we are brought to the hidden network of grand Vienna's underground sewers. What could be a more fitting symbol of the underlying unpleasantness that lurks beneath the thin, shallow surface of what we call "civilization"? It provides the perfect setting for the ending to a very unique film that very effectively portrays a world that has succumbed to a state of disorder, misery, and even madness. In the end, the sewer awaits. Bal-loon?
Given up on this "classic"
I have tried many times to watch this movie that everyone else raves about. I have never got to the end because I got bored not long after the beginning. Well yesterday, I made it a point to watch it to the end no matter what. I still cannot figure out the movie and why everyone else raves about. Except for the terriffic scenes in the French canal system I see nothing but a boring movie. I am almost 60 and a lover of film-noir movies but this one does nothing for me.
What a wonderful man!!!!!!
The best film noir ever made. Mr Welles never was so handsome, and so evil as in this movie. But Why he must die??????? Oh, that horrible censorship!!!!!! But, about mr Cotten, I think he is a wonderful, but too forgotten actor. Mr Cotten^s fan club now!
"The dead are happier dead"
The bond a woman feels with her lover -- has a film ever captured it so realistically?

Anna (Alida Valli) will have no part of any schemes to capture expatriate Harry Lime (Orson Welles), though he has faked his death and left her to fend for herself in the corrupt and broken-down rubble of post-war Vienna. Nor, once she knows Lime is dead for good, will she have any of Holly Martin (Joseph Cotton), the hard-bitten American pulp writer who possesses the integrity that Lime has long ago exchanged for expediency.

Lime had offered a job to Holly, and that's what has drawn him to the dark and dilapidated streets of the Austrian capital. In the end, we see, Martin has performed his duties to perfection.

It's hard to believe the book "Positive Psychology at the Movies 2" does not list "The Third Man" in its index. In many ways, this film shows man at his best under grueling conditions. Martin shows judgment, self-regulation, perseverance, perspective, and bravery.

The casting and ensemble work here are perfect, and Robert Krasker's cinematography must set the standard in the field. I'm a little mixed on the famous score featuring endless gyrations of the zither. Perhaps it provides a bit of metaphor: Like the rot at the core of the culture, one can never quite escape its rather crazy-making influence.
Great film
Greetings from Lithuania.

I can believe of how involving and intriguing "The Third Man" (1949) actually is after seeing it just now for a first time in 2017. This is a movie which stood the test of time. Now for a second this movie in term of its narrative, script, writing, acting and directing looked like of felt like it was made back in 1949. All of the above mentioned parts of the film were more then great - they were a head of its time. Now i also loved how somehow darkly funny this movie was and especially the whole story if you think about it - i won't spoil the ending for those who haven't seen it yet, but the story about a novelist desperately trying for find out about his closed friends dead and how it all ends its just a funny, darkly funny thing. Music as well cinematography were also great.

Overall, while "The Third Man" isn't perfect nor it blew my away like some other films of the period, this is a great film overall, a bit a head of its time.
The Third Man's the charm
The Third Man is an ideal example of Film Noir. With its impossible shadows and bleak plot elements, it embodies everything that makes the genre what it is. The protagonist of the film is Holly Martins, an American who goes to Vienna because his friend Harry Lime has offered him a job there. Upon reaching Vienna, Martins discovers that his friend has been run over by a car and killed. Or has he? Holly Martins is played by Joseph Cotten, a renowned actor of the period. Since Martins is the protagonist it is his journey throughout the film that is the most fleshed out, and it is he with whom we sympathise. Joseph Cotten does a good job of making his character seem believable and sympathetic, and portrays his journey from an innocent child-like author of westerns to a hardened man who has seen too much of the world with great skill.

The leading lady is Alida Valli, who plays Anna Schmidt. Schmidt was Harry Lime's girlfriend before the 'accident', and the character is deeply upset by her loss. Alida Valli manages to portray her character with a haunting believability. There is something mysterious and sad about the character which is not seen in very many other films.

But what really makes the film good is the performance of Orson Welles. Welles plays Harry Lime himself, and though the character really gets a minimal amount of screen time, Welles really steals the show. He doesn't just chew on the scenery, he swallows it whole! His character is the most complex of all, so pulling it off as well as Welles did is no walk in the park. Welles manages to show Lime's evil mixed with friendship for his wholesome friend Holly. His entrance to the film, as the light from an upstairs window beams down across his childish face, is by far the most memorable shot in the entire film. The look that he gives his old friend, half guilty half happy, still stays fixed in my eyes now.

There is a reason that this film won the Academy Award for Best Cinematography. It is superb. As I have said before, the film has many impossible shadows, as well as tilted camera shots. I think we have all seen scenes in films where a huge shadow coming round a corner precedes its considerably smaller caster. This was the film that invented that device. Even with the impossible shadows and camera angles, the cinematography does not feel out of place. With the films tone of darkness, evil and falsity, the shadows fit right in, and the askew camera angles only enhance the askew plot points.

The music of the film was written by Anton Karas. It is almost entirely zither music, and it brings a unique feel to the film. While the light-hearted music seems out of place at first, the viewer eventually gets used to it, and the music actually takes the film along a whole other road to where it would have gone wit darker music. While mostly light, the music is undoubtedly intense, and it emphasises certain themes very well, particularly in the scene just before the landlord gets murdered. As he turns around and notices his off-screen attacker, the music comes on very strong, and gives a feeling of fear to the film. As much as the music works in certain scenes, the lack of music works in others. During the showdown in the sewer, there is almost no music; just the sound of the falling water echoing through the tunnels. This gives a true sense of realism to the scene.

The director, Sir Carol Reed did very well with this film. He (as opposed to she, no matter what the name suggests) managed to evoke the characters feelings from not only the actors, but from the lighting and scenery as well. There is something about The Third Man that is unique. While it feels dated, many of the themes the movie embodies are still relevant today, and it is still enjoyable to modern audiences. I would give this film nine stars
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