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The Third Man (1949)

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Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime.

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Top Rated Movies #127 | Won 1 Oscar. Another 4 wins & 4 nominations. See more awards »

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Cast

Complete credited cast:
... Holly Martins
... Anna Schmidt (as Valli)
... Harry Lime
... Maj. Calloway
... Sgt. Paine
... Karl - Harry's Porter (as Paul Hoerbiger)
Ernst Deutsch ... 'Baron' Kurtz
... Popescu
... Dr. Winkel
... Crabbin
... Anna's Old Landlady
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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. 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 <mrt@oasis.icl.co.uk>

Plot Summary | Plot Synopsis

Taglines:

You've never met anyone like him! (from reissue print ad) See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

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Language:

| |

Release Date:

12 October 1949 (France)  »

Also Known As:

The 3rd Man  »

Filming Locations:

 »

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Box Office

Opening Weekend:

£17,856 (United Kingdom), 18 July 1999, Limited Release

Opening Weekend USA:

$13,576, 9 May 1999, Limited Release

Gross USA:

$449,191, 22 November 2015
See more on IMDbPro »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

In one shot in the Wienkanal, a security officer passes by a wall with the engraving "O5," which was the secret symbol of the Austrian resistance against Nazi occupation. ("O5" represents "OE" or "Ö," the first letter of "Österreich," the native name for Austria.) See more »

Goofs

When Anna is taken into custody in Lime's apartment, she is sleeping with the large bedroom windows wide open, even though the scene is set in the middle of winter. The police that come to arrest her are all wearing heavy winter coats, indicating very cold weather. See more »

Quotes

Opening narrator: I never knew the old Vienna before the war with its Strauss music, its glamour and easy charm. Constantinople suited me better.
[Scenes of black market goods changing hands]
Opening narrator: I really got to know it in the classic period of the black market. We'd run anything if people wanted it enough and had the money to pay. Of course a situation like that does tempt amateurs
[Dead body seen floating in the river]
Opening narrator: but, well, you know, they can't stay the course like a professional.
Opening narrator: Now the city is divided into ...
[...]
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Crazy Credits

Opening credits prologue: V I E N N A See more »

Connections

Featured in Flow: For Love of Water (2008) See more »

Soundtracks

Managua, Nicaragua
(1946) (uncredited)
Music by Irving Fields
Lyrics by Albert Gamse
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Frequently Asked Questions

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User Reviews

The real mccoy when you want to talk serious screen legends!
29 March 2002 | by See all my reviews

What IS it makes THE THIRD MAN the classic most everyone agrees it is? (And lets face it, voted no 35 in the top all-time films gives it MORE than just some passing credibility!) Is it Orson Welles' menace? The whiff of corruption in occupied post-war Vienna? the cuckoo-clock speech atop the big wheel? even Anton Karras' zither? Perhaps ALL these things? If however, you had to nominate just a single influence within the whole production that elevates it to greatness I suggest that would be Robert Krasker's cinematography.

The finished product innovatively, was years ahead of its birthright. Time and time again the viewer is bailed up by stunning camera angles and back-lighting. The eerie shadows around the deserted streets and of course the unforgettable first glimpse of Harry Lime (Welles) himself as he skulks like the rat he is, in the corner of the building, lit in close-up suddenly from the light in an adjacent apartment. Offhand I cannot think of a character's more dramatic entrance to a film.

Welles in fact has minimal screen time, though his dark presence and influence infiltrate proceedings like an insidious disease. Yet somehow his ultimate demise in the sewers brings into play an incredible sadness and compassion that has absolutely no right being there. It remains for me one of my top five film favorites. I have always given it a "10" personally but hey, to be voted an "8.6" universally is a pretty fair vindication of my words here.


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