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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.

Director:

Carol Reed

Writers:

Graham Greene (by), Graham Greene (screen play)
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Popularity
2,835 ( 45)
Top Rated Movies #130 | Won 1 Oscar. Another 4 wins & 4 nominations. See more awards »

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Cast

Complete credited cast:
Joseph Cotten ... Holly Martins
Alida Valli ... Anna Schmidt (as Valli)
Orson Welles ... Harry Lime
Trevor Howard ... Maj. Calloway
Bernard Lee ... Sgt. Paine
Paul Hörbiger ... Karl - Harry's Porter (as Paul Hoerbiger)
Ernst Deutsch Ernst Deutsch ... 'Baron' Kurtz
Siegfried Breuer ... Popescu
Erich Ponto ... Dr. Winkel
Wilfrid Hyde-White ... Crabbin
Hedwig Bleibtreu ... 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:

View content advisory »
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Details

Country:

UK

Language:

English | German | Russian

Release Date:

12 October 1949 (France) See more »

Also Known As:

The 3rd Man See more »

Filming Locations:

Austria See more »

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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, 31 December 2015
See more on IMDbPro »

Company Credits

Production Co:

London Film Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Orson Welles initially refused to do the sewer sequences because he was convinced the bad air would give him some disease. Carol Reed claimed there was nothing to worry about as the smell was a result of disinfectant, not excrement. According to Reed, the apprehensive Welles didn't believe him. See more »

Goofs

In the two separate back projection shots of Calloway, Martins and Paine, supposedly traveling in a jeep at night in Vienna, a double-decker London bus can be seen in the background. See more »

Quotes

Martins: Oh, Anna, why do we always... have to quarrel?
Anna Schmidt: If you want to sell your services, I'm not willing to be the price. I loved him. You loved him. What good have we done him? Love. Look at yourself.They have a name for faces like that.
See more »

Crazy Credits

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

Alternate Versions

The UK version features introductory voice-over by the director Carol Reed; in the US version Joseph Cotten provides the voice-over, as his character Holly Martins. The UK version runs 104 minutes, versus the US version at 93 minutes, which was cut by producer David O. Selznick to give the film a tighter pace. Both versions have been released on video in the U.S., but as of today the most common is the longer British cut. A video comparison between the narrations appears on the U.S. Criterion Collection DVD. See more »

Connections

Featured in Arena: The Orson Welles Story - Part 1 (1982) See more »

Soundtracks

Das Alte Lied
(1931) (uncredited)
Music by Henry Love
Lyrics by Fritz Löhner-Beda
See more »

Frequently Asked Questions

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User Reviews

The real mccoy when you want to talk serious screen legends!
29 March 2002 | by uds3See 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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