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The Third Man
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Directed by Carol Reed.
In this Cold War spy classic, Holly Martins (Joseph Cotten), a third-rate American pulp novelist, arrives in postwar Vienna, where he has been promised a job by his old friend Harry Lime (Orson Welles). Upon his arrival, Martins discovers that Lime has been killed in a traffic accident, and that his funeral is taking place immediately. At the graveside, Martins meets outwardly affable Major Calloway (Trevor Howard) and actress Anna Schmidt (Alida Valli), who is weeping copiously. When Calloway tells Martins that the late Harry Lime was a thief and murderer, the loyal Martins is at first outraged. Gradually, he discovers not only that Calloway was right but also that the man lying in the coffin in the film's early scenes was not Harry Lime at all--and that Lime is still very much alive (he was the mysterious "third man" at the scene of the fatal accident). Thus the stage is set for the movie's famous climactic confrontation in the sewers of Vienna--and the even more famous final shot, in which Martins pays emotionally for doing "the right thing." Written by Graham Greene, The Third Man is an essential classic, made even more so by the insistent zither music of Anton Karas. The film is currently available in both an American and British release version; the American print, with an introduction by Joseph Cotten, is slightly shorter than the British version, which is narrated by director Carol Reed. Nominated for several Academy Awards, The Third Man won Best Cinematography for Robert Krasker. ~ Hal Erickson, All Movie Guide
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ShaunHustonShaunHuston AFI's 10 Top 10: Mystery
by ShaunHuston in ShaunHuston filmblog
hasn't rated it.
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"The mystery list is another one that seems poorly conceived. Unlike animation, “mystery” may be a genre, but the way it is defined and applied in the AFI list leads to a muddled selection of films.The AFI defines mystery as “a genre that revolves around the solution of a crime”. I'm not convinced that that adequately describes the films on the list, or, even if it does, it is absurdly reductive. Most ironically, the definition seems least appropriate when applied to the list's top selection, Vertigo (1958), which does not actually revolve around the solution of a crime at all, but a domestic mystery, and is really about Scottie's (Jimmy Stewart) inner-demons and obsessions in any event. Similar questions can be raised about other movies on this Top 10. For example, the second film on the list, Chinatown (1974), certainly starts with a mysterious murder, but part of the point of the film is that some “crimes” aren't illegal at all, and may even be facilitated by laws. The plot of T ... " [More]
NevermoresRavenNevermoresRaven Classic Film Noir, classic good ...
by NevermoresRaven in NevermoresRaven Blog
loved it.
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"War is hell, and the second world war drove that point home in Europe. Vienna is one such place that took a beating during the war. This crumbling, war torn, damp, conflict riddled hell hole(no offence Vienna, you're beautiful now) is the backdrop to the 1949 film noir classic "The Third Man". As I've said before, some older films don't hold up too well, but others still stand out decades after(we're talking 59 years already for this one). This is one such film.The film is a mystery(what, a film noir as a mystery? Crazy, I know), where a man who comes to Vienna to work for a friend is instead left to figure out what happened after his death. The different occuping armies(United States, Britian, France, and Russian) are all playing a part somewhere along the road, and none are too keen on playing well with others it seems. The acting is very well played, Joseph Cotten plays the protaginist Holly Martins(I kid you not, he's a guy named Holly) with passio ... " [More]
ShaunHustonShaunHuston The Good German (2006) on DVD: ...
by ShaunHuston in ShaunHuston filmblog
hasn't rated it.
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"One thing, maybe the thing, that makes The Good German perplexing is that its best quality, the meticulous recreation of a 40s international noir ala Casablanca (1942) or The Third Man (1949), is also its biggest weakness.There are some beautiful and authentic images in the film, but there are others that verge on parody (mostly those involving rear projection; sorry no stills or screen grabs available - I popped the film back into the mail before thinking I might want it). By itself, that wouldn't be a problem except that director Steven Soderbergh and writer Paul Attanasio haven't rethought the films they reference so much as attempted to reproduce them, but with the jarring addition of language, violence, and sex that wouldn't have been allowed in the 1940s. Unlike, say, homosexuality (and, really, race) in Far From Heaven (2002) or the disappearing blandness of Ed (Billy Bob Thornton) in The Man Who Wasn't There (2001), the updating and revisioning of genre in The Good German i ... " [More]
TenenbaumsTenenbaums Catching Up On The Classics
by Tenenbaums in Tenenbaums Blog
is neutral about it.
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"I keep a list of films of which I am embarrassed that I have not seen. This past week, two more titles were crossed off. Carol Reed's The Third Man looked like a clear winner. Cinephiles rank the film noir among the all-time best and the Criterion Collection has given it two editions. The only other film to receive this treatment is the undisputed Kurosawa classic The Seven Samurai. Orson Welles has received overwhelming praise for his performance and the film's giant ferris wheel has been referenced in other works as far reaching as "Pinky and the Brain."With all of that hype going for it, The Third Man greatly underwhelms. The plot set-up is intriguing, the set pieces are impressive, and the lighting is inspired. Then when Graham Greene's screenplay needs to hold up most, it falls completely flat. The entire final act relies on a piece of character motivation that has no support and detracts from a potentially landmark final chase sequence. Also working against the fi ... " [More]
ShaunHustonShaunHuston An At-Home Film Festival: catch ...
by ShaunHuston in ShaunHuston filmblog
hasn't rated it.
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"The movies in our DVD collection can be broadly categorized like this:Ones that we, and particularly Anne-Marie, will watch pretty casually. These tend to be films that are simply “watchable,” that we are already pretty familiar with, and/or can be watched for individual moments. Examples of these films include Dazed and Confused (1993), 10 Things I Hate About You (1999), and L.A. Confidential (1997).Ones with which we are familiar with and may watch casually, but are more, or at least just as, likely to watch with focus. Among these films are The Godfather (I and II), The Third Man (1949), and The Royal Tenenbaums (2001). Much as Anne-Marie is more likely to pop in a movie as background, I am more likely to devote my attention to a film I've chosen to watch. Both of these categories of films are the kinds of movies we're likely to watch when home sick, or have the luxury of a lazy day.Finally, there are those that we have in our collection, but rarely watch. In some c ... " [More]
RisseladaRisselada Re: AFI Top 100 Films
by Risselada in Filmspotting
loved it.
"The Third Man probably wasn't eligible since it's British, not American. " [More]
AegisAegis AFI Top 100 Films
by Aegis in Filmspotting
hasn't rated it.
"The AFI people really fell short this year - Fargo and The Third Man didn't make the list but crap like Titanic did. Amazing! " [More]
sarcastigsarcastig Re: What are your favorite endi ...
by sarcastig in What An Ending
loved it.
"I can think of so many perfect endings...In fact, almost all the movies I love have good endings, because I think it's needed to go from liking to loving a movie. But a few that came immediately to mind: *Eternal Sunshine of the Spotless Mind*The Third Man: it's a very long shot of the main female character watching towards the camera, where the main character is standing by his car. It takes about 3 minutes, with the only sound being the great zithar music. Then she gets to the camera, and without even looking at the guy, walks past it and out of the frame. It's hard to explain why it's so perfect, but just watch the movie, it's worth it.*The Passenger: fabulous, and rightfully famous, final scene. I won't reveal anything because you have to try to figure it out yourself*Butch Cassidy and the Sundance Kid, Bonnie & Clyde, and Thelma& Louise. Somehow these "1 pair on the lam" movies tend to end the same way, the only way they can end, but that doesn& ... " [More]
alexcharneralexcharner Re: Top 5 Character Introductions
by alexcharner in Filmspotting
loved it.
"Hi Adam,I just started listening to Filmspotting #160 so I haven't reached the 'top 5' part. Sam just suggested putting Fresnadillo in a coffin.I don't know if this is a penalty box selection, but Orson Welles' entrance in Carol Reed's The Third Man http://www.spout.com/films /34781/default.aspx is phenomenal. Drunk Joseph Cotten leaves Valli's apartment, you see a cat caressing some guy's ankles, Cotten makes noise, a window opens and the light hits Orson's wry moon face.Great show guys,Alex " [More]
JymkataJymkata Re: Favorites
by Jymkata in British Invasion
liked it.
"My UK Favorites:I'm not sure if you're only looking for movies set in the UK (with stiff upper lips & veddy,veddy Brittish accents), but these are my favorite productions made in the UKTelevision: The Office, The Singing Detective, Yes, Minister, Tinker, Tailor, Soldier, Spy, and Smiley's PeopleI'm All Right JackBrazilThe Bridge on the River KwaiThe Red ShoesA Matter of Life and Death (Stairway to Heaven)Layer CakeBloody SundayEnigmaThe General (Boorman)The Cook, the Thief, his Wife, and her LoverThe Draughtman's ContractThe Killing FieldsThe Great Train RobberySleuthBedazzled (1967)The HillThe Spy who Came in From The ColdGoldfingerThe Masque of the Red DeathZuluThe HauntingLawrence of ArabiaThe InnocentsThe LadykillersThe Importance of Being EarnestThe Lavender Hill MobThe Browning VersionOdd Man OutThe Third ManBlack NarcissusThe Life and Death of Colonel BlimpThe 39 StepsStage Fright " [More]
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Review by All Movie Guide
All Movie Guide
loved it.
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, All Movie Guide
 



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