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    3. The Third Man (1949) [The Criterion Collection #064] [ReUp]

    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    Posted By: Someonelse
    Date: 23 Jan 2015 14:02:00
    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    The Third Man (1949)
    2xDVD9 | ISO+MDS | NTSC 4:3 | Cover | 01:45:02 | 7,30 Gb + 7,41 Gb
    Audio: English AC3 1.0 @ 192 Kbps | Subtitles: English SDH
    Genre: Film-Noir, Mystery, Thriller | Criterion Collection #064

    Director: Carol Reed
    Stars: Orson Welles, Joseph Cotten, Alida Valli

    Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, black-market opportunist Harry Lime - and thus begins this legendary tale of love, deception, and murder. Thanks to brilliant performances by Joseph Cotten, Alida Valli, and Orson Welles; Anton Karas’s evocative zither score; Graham Greene’s razor-sharp dialogue; and Robert Krasker’s dramatic use of light and shadow, The Third Man, directed by the inimitable Carol Reed, only grows in stature as the years pass.

    IMDB - Top 250 #104 | Criterion | Wikipedia | Rotten Tomatoes | TCM

    The Third Man is a classic. It has infiltrated pop culture to a point where I've seen three or four seperate people using "Harry Lime" as an online indentity/persona over the past few years. The trailer that Rialto cut for its fiftieth-anniversery re-release in 1999 operates under the assumption that its audience knows all about it, and is built around the Big Reveal that happens with about half an hour of the movie's hundred-odd minute running time lef; it's a preview designed for people who already know the movie.

    Maybe I'm being unnecessarily circumspect here - after all, Orson Welles does grab third billing in the movie, even though he doesn't have a great deal of screen time, so his part must be crucial. Even back in 1949, there probably wasn't a big Miramax-style "don't tell people the movie's secret" buzz around the movie. still, it would have been nice if when I'd seen it the first time, I'd seen it relatively cold.

    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    Besides, focusing on one splashy, and admittedly fantastic, supporting performance gives short shrift to the rest of the movie. We follow Joseph Cotton as Holly Martins, a down-on-his-luck writer of cheap westerns who comes to postwar Vienna when his friend Harry offers him a job, but when he arrives, Harry is dead, struck by a car the previous day. The local authorities are anxious to send Holly back home, but he's read a few too many of his own novels, and starts sniffing around the parts of Harry's death that don't add up.

    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    It's important to keep in mind that The Third Man is a British film, and as such probably represents European sentiment toward America at the end of World War II - Holly is big-hearted and well-meaning, but not terribly bright. He comes to a country where he doesn't speak the language and acts like he knows better than the professionals; the British inspector in charge of the case, Calloway (Trevor Howard) puts up with him because Martins does want to do the right thing, which is perhaps more than can be said for Calloway's Soviet counterpart (occupied cities like Vienna are divided into sectors, each watched over by one of the Allies). After all, it's the smart Americans you have to look out for - the ones like Holly's late friend Harry, who was making a killing on the black market.

    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    And then there's Anna Schmidt (Alida Valli). She's as European as they come, and she represents the peculiar loyalties of that time. This beautiful actress (and Harry's lover) doesn't appear to have much trouble transferring her affection from Harry to Holly, but after all, there's just been a war, and men die in wartime. She endeavors to stay away from her home country with Soviet control looming. But she won't betray Harry, even when it becomes clear that Harry had felt no such qualms.

    These characters move through a story that is a classic mystery setup. There are visits to crime scenes, gathering of evidence, witnesses eliminated, and plenty of suspects. The uneasy backdrop of how the Soviets seem to be becoming less and less trustworthy allies as times go by makes the question of who can be trusted problematic. War-torn Vienna makes for an intriguing backdrop, as Old World elegance gives way to bombed-out devestation, with lights and traffic being sparse. A Ferris wheel (the same one later used in Before Sunrise) is incongruously innocent - and mostly empty.

    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    To me, the scene which best encapsulates the movie is the final, wordless shot. It's Holly and Anna, and fits them as individuals, but it also represents the collision of American optimism (or arrogance) and European propriety.

    That's The Third Man's brilliance. It's mystery, character drama, and metaphor all at once.
    Jay Seaver, eFilmCritic
    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    Carol Reed's The Third Man is one of the odder successes among international films of the late 1940s: at a time when movies were supposedly getting dulled-down, in keeping with audience sensibilities, here was a quirky movie from England, with Hitchcock-like touches and an odd sense of humor, that manages to be grim, topical, and wryly witty, while retaining, even augmenting, a good bit of author Graham Greene's sensibility. For all the film's virtues, its making was a tale of compromises turned into inspiration. Producer Alexander Korda wanted Noël Coward to play the mysterious Harry Lime, but, once Orson Welles was cast in the part, the movie became a testament to his presence and impact; he's only on screen for about a quarter of the movie, but he's the actor that everyone remembers. In fact, Welles was off shooting another movie, reporting to The Third Man only late in the shooting, and he was doubled for many scenes: that was Carol Reed's assistant, future Goldfinger director Guy Hamilton, in the black trench coat running down Vienna's darkened streets, and those were director Reed's fingers reaching through the sewer grating at the chase's end. Recasting Joseph Cotten's Holly Martins as an American in turn allowed Greene to bring to the screen for the first time his antipathy toward Americans and their bright-eyed, bushy-tailed innocence in approaching the world's problems, a theme that would manifest itself even more directly in relation to Vietnam in The Quiet American.
    Bruce Eder, Rovi
    The Third Man (1949) [The Criterion Collection #064] [ReUp]

    Special Features:
    - New, restored digital transfer
    - Video introduction by writer-director Peter Bogdanovich
    - Two audio commentaries: one by filmmaker Steven Soderbergh and screenwriter Tony Gilroy, and one by film scholar Dana Polan
    - Shadowing “The Third Man” (2005), a ninety-minute feature documentary on the making of the film
    - Abridged recording of Graham Greene’s treatment, read by actor Richard Clarke
    - “Graham Greene: The Hunted Man,” an hour-long, 1968 episode of the BBC’s Omnibus series, featuring a rare interview with the novelist
    - Who Was the Third Man? (2000), a thirty-minute Austrian documentary featuring interviews with cast and crew
    - The Third Man on the radio: the 1951 “A Ticket to Tangiers” episode of The Lives of Harry Lime series, written and performed by Orson Welles; and the 1951 Lux Radio Theatre adaptation of The Third Man
    - Illustrated production history with rare behind-the-scenes photos, original UK press book, and U.S. trailer
    - Actor Joseph Cotten’s alternate opening voice-over narration for the U.S. version
    - Archival footage of postwar Vienna
    - A look at the untranslated foreign dialogue in the film
    - Optional English subtitles for the deaf and hard of hearing
    - PLUS: A booklet featuring new essays by Luc Sante, Charles Drazin and Philip Kerr

    All Credits goes to Original uploader.

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