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. Written by
Mark Thompson <firstname.lastname@example.org>
The frequent use by director Carol Reed of Dutch angles to portray uneasiness and tension in the characters earned him a gift from his crew at the end of filming: a spirit level. See more »
As Martins arrives at the funeral, he asks Maj. Calloway who the funeral is for. A black tombstone is seen behind Martins. When he walks towards the grave and stands by Anna, the same tombstone is seen behind her. This occurred because both of those scenes were not filmed on location in Vienna, but later at Shepperton Studios, which only had very few fake tombstones available. See more »
I'd make comic faces... and stand on my head and grin at you between my legs... and tell all sorts of jokes. I wouldn't stand a chance, would I?
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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.
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