Simply Perfect

Must See Movie...

i must have seen a different film!!

A Major Disappointment

Actually, i didn't like the movie's music because it is not fit into the movie. And it wasn't even thrilling. But cinematography deserve the Oscar and last scene was so beautiful. It was really interesting because i think the movie's genre is comlicated i mean it haven't a clearly concept. It wasn't real crime movie, it wasn't a romantic movie, it wasn't definetely film-noir and thriller i gave up 7 but it even deserve to watch. i believe its all reason is the music choosen.

The Third Man is filled with great writing, acting, and directing, but the greatest aspect of the movie is the cinematography. Carol Reed and cinematographer Robert Krasker did a fantastic job of depicting a post world war II Vienna. The deep shadows and large amount of dutch angles add to the mystery, uneasiness, and tension of the plot. Most film noir are filled with hard-boiled detectives and pessimistic tones. Reed replaces the detective with a writer trying to find out the truth about his friend's death. Most noir are filled with deep, slow jazz, but The Third Man's soundtrack is filled with upbeat guitar music. It seems out of place when it first plays but it only adds to the weird conspiracy of Orson Welles' death. While The Third Man is considered film noir I believe it stands out form the rest.

Film Review: "The Third Man" (1949) - A film produced under mystery and delayed secrecy concerning Actor/Director Orson Welles (1915-1985) traveling Europe before hitting set in season 1948/1949 to met fellow actor friend Joseph Cotton (1905-1994), performing as down-on-luck writer Holly Martins to investigate the fate of the black marketing character of believed-to-be-dead Harry Lime; together they delivered an iconic scene in motion picture history at the Prater in Vienna, which presents itself in post-war exterior setting condition, where cinematographer Robert Krasker opened up his skill-set of dutch camera angles, stark contrast lighting and precise dolly push-ins. Director Carol Reed (1906-1976) keeps his pressure on even under a tight production schedule and his gone-missing Hollywood Star to deliver a picture with film noir aesthetics without denying genre-twisting constant infusions of dark humorous beating inserts over struggling down-beat actress Alida Valli (1921-2006) with charming native-German speaking support actors, sharing language cross-over punchlines for highest revisiting motion picture entertainment, arguably the most accomplished film from the year 1949 of Academy Award contending pictures, which took the MPAA another year to recognize a deserved Oscar nominations for Direction, Cinematography and pitch perfect pacing Editorial job by Oswald Hafenrichter (1899-1973) in spite of denying the ground-breaking screenplay by Graham Greene (1904-1991) any further recognition as well as the simplistic musical score by Anton Karas (1906-1985), who elevates "The Third Man" even after 68 years of reviews to be one of the genre most innovative motion picture.© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

Without a lot of hyperbole, this movie is a true must see, a film noir master class and an important landmark in the history of cinema.A story about individuals living in Vienna after WWII, a place and a time of rebuilding in the context of great loss, both personal and national. The intro narration is a cynical description of the setting but the character introduction is hopeful, perhaps prophesying a brighter future. But subsequent events become increasingly shady and foreboding. The conclusion remains in question until the very last scene.This is an older movie, and acting styles have changed over the years. And yet, the performances are perfect for the setting and the story given that the movie and the story were made and written around the same time in history, in other words, events in the story were contemporaneous with history. Character arcs are engaging and realistic. The story is, in many ways, about character, the choices individuals make and the consequences that follow, the influence of history on individual choices and the impact of character on history. DEEP.The cinematography alone is worth several viewings. B&W heaven.The direction is a healthy mix of Orson Welles, Alfred Hitchcock, and British discipline. Excellent pace, every shot/scene essential. Suspension of disbelief is easy and effortless. The editing is fluid, seamless, invisible if you're not looking for it. That is meant as a compliment.There are many sub-textual layers to this movie; something that is important to me when recommending a movie as a must see. I did not give this movie a 10. Why? Perhaps this was not intended but the British character and element came off as higher than thou, arrogant. Didn't like that. Maybe I'm being petty but it seemed that this element changed the thematic focus from existential crisis to political righteousness. Other than that, it's a 10.