The Third Man (1949)

Calificación de los usuarios:

8.5/10   

Director:

Carol Reed

Escritores:

Graham Greene (story)
Graham Greene (screenplay)

Fecha de Lanzamiento:

3 septiembre 1949 (UK)

Género:

Cine Negro | Misterio | Suspenso

Frase comercial:

Carol Reed's Classic Thriller

Plot:

Arriving in Vienna, Holly Martins learns that his friend Harry Lime, who has invited him, recently died in a car accident.

Plot Keywords:

Vienna | Black Market | Post WWII | Car Accident | Police

Premios:

Won Oscar. Another 2 wins & 4 nominations

Comentarios de los usuarios:

A movie ahead of its time

Reparto

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

También conocida como:

The 3rd Man (USA) (poster title)
El tercer hombre (Argentina) (Mexico) (Spain) [es]

Duración:

104 min | USA:93 min

País:

UK

Idioma:

Inglés | Alemán | Ruso

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric Recording)

Clasificación:

Iceland:12 | Netherlands:6 (DVD rating) | South Korea:15 (2003) | Argentina:13 | Australia:PG | Finland:K-16 | Norway:11 | Spain:13 | Sweden:15 | UK:PG | USA:Approved (PCA #14125) | West Germany:12 | New Zealand:G

Locaciones de Filmación:

Isleworth, Middlesex, England, UK

Compañía:

London Film Productions

Trivialidades:

During meetings between Graham Greene and Carol Reed with David O. Selznick, Greene was less than impressed with Selznick, who had (according to Selznick's own son) "become something of a parody of himself". Greene later mocked Selznick's dependency at the stage on the drug Dexedrine, better known as "speed". Coincidentally, Reed also became hooked on Dexedrine while shooting the time-consuming film. Both Reed and Selznick were operating on as little as 2 hours of sleep a day.

Errores:

Continuidad: The dog and the book briefly change between Kurtz' two hands when he is being shown where Lime was hit by a truck.

Citas:

Calloway: [to Holly Martins] You were born to be murdered.

Conexiones de Película:

Referenced in "Law & Order: Fluency (#15.14)" (2005)

Banda de Sonido:

The Third Man Theme

A movie ahead of its time

The Third Man is a movie that looks and feels not like a movie of the 40s, but like a neo-noir of the late 60s/early 70s. This wonderful example of classic noir is one of the all time greatest films. It combines amazing visuals, sounds, dialogue, and acting to tell a thrilling story and comment about the atmosphere after WWII.

Of all the movies durring the studio era (pre-1960ish), there are three movies with cinematography that always stick out in my mind: Gregg Toland's work in Citizen Kane, Russel Mety's work in Touch of Evil, and Robert Krasker's work in The Third Man (all starring Orson Welles funny enough). I just recently saw a restored 35mm version of The Third Man. The crisp black and white visuals of a bombed out Vienna are so breath-taking. Shadows are everywhere. The unique way Krasker tilts the camera in some shots adding to the disorientation of the plot. And who can forget the first close-up of Welles with the light from an apartment room above splashing onto his face; one of the great entrances in movie history (Lime gives his old friend a smile that only Welles could give).

The cinematography is backed by strong performances by Welles, Cotten, and italian actress Vali. The writing of Greene is wonderful; you can see the plot twisting around Cotten tightly. But what makes The Third Man so great is its historical commentary (well not really historical since it was commenting on its own time, but to us it is historical). On one level The Third Man is a story of betrayal and corruption in a post-war, occupied Vienna. On the other hand, its giving the audience a glimpse of the mood of Europe after the great war. The uncertainty that the Cold War was bringing is evident through out the film; Cotten is constantly trying to figure out who to trust. Vienna is on the frontier of the new communist bloc (we even see the communists infiltrating Vienna trying to bring Vali back to her native Czechoslavakia). The zither music score combined with the stark images of bombed out Vienna are reminiscent of the frontier towns of American Westerns. So The Third Man is not only a wonderful film noir, but a unique look at the brief time between WWII and the height of the Cold War.