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Editorial Review:
Amazon.com essential video:
The fractured Europe post-World War II is perfectly captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from battle. Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer, Martins learns of allegations of Lime's involvement in racketeering, which Martins vows to clear from his friend's reputation. As he is drawn deeper into postwar intrigue, Martins finds layer under layer of deception, which he desperately tries to sort out. Welles's long-delayed entrance in the film has become one of the hallmarks of modern cinematography, and it is just one of dozens of cockeyed camera angles that seem to mirror the off-kilter postwar society. Cotten and Welles give career-making performances, and the Anton Karas zither theme will haunt you. --Anne Hurley
Amazon.com:
The fractured Europe post-World War II is perfectly captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from battle. Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer, Martins learns of allegations of Lime's involvement in racketeering, which Martins vows to clear from his friend's reputation. As he is drawn deeper into postwar intrigue, Martins finds layer under layer of deception, which he desperately tries to sort out. Welles's long-delayed entrance in the film has become one of the hallmarks of modern cinematography, and it is just one of dozens of cockeyed camera angles that seem to mirror the off-kilter postwar society. Cotten and Welles give career-making performances, and the Anton Karas zither theme will haunt you. --Anne Hurley
Customer Reviews
Average Rating: 
Rating:  - The Third Man - Blu-ray Info
Version: U.S.A / Criterion / Region A
Aspect ratio: 1.33:1
MPEG-4 AVC / BD-50 / AACS / High Profile 4.1
Running time: 1:45:13
Movie size: 27,23 GB
Disc size: 43,30 GB
Total bit rate: 34.51 Mbps
Average video bit rate: 30.48 Mbps
Subtitles: English SDH
Number of chapters: 23
LPCM Audio English 768 kbps 1.0 / 48 kHz / 768 kbps / 16-bit
Dolby Digital Audio English 192 kbps ... Read More
Rating:  - Blu-ray version of the Criterion presentation of "The Third Man" (1949)
This is one of those films that everyone thought the saw. This is of course because of all the popular actors and directors. Of those viewers that have seen this film they will never forget.
The default version is the U.K. version. However you can see the different versions compeered on the extras. Speaking about extras, one of the best is the abbreviated play being read over the film. I defiantly ordered the book.
This film is presented in black and white. You can see ... Read More
Rating: - 3 stars out of 4
The Bottom Line:
Marred by the incongruously-jaunty zither music (though many like it) and the fact that the movie only really takes off when Orson Welles comes on scene, The Third Man is an incredily atmospheric and moody mystery that may be a bit flawed but is well-worth watching.
Rating: - Orson Welles, Vienna & a Cool Zither Score
It's heartening to see that more and more classic films are being released in the Blu-ray format, which offers a crisp, sharp, High Definition picture and greater clarity of sound. The latest is "The Third Man," the 1949 film about post-World War II intrigue set in a Vienna divided into French, American, British, and Russian zones, each containing its share of suspicious characters.
Alcoholic pulp Western author Holly Martins (Joseph Cotton) has come to Vienna at the invitation of his friend, ... Read More
Rating:  - Overbearing and Underwhelming.
For me, a film like "The Third Man" is the kind of experience that makes me deride the techniques of so-called "film noir". It is loaded with melodramatic camera angles, stark lighting, blaring music, and needlessly vague characterizations. It is so assured of its mysterious, bewitching power that scenes just kind of limp about the screen with no real emotion. And worse still are the flat to annoying performances of Cotten, Welles, Howard, and whomever played the female lead.
Yes, it was shot ... Read More
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