am 25. November 2014
Als Produzent Sir Alexander Korda Ende der 40er Jahre aus Wien nach London zurückkehrte, hatte Graham Greene eine Eröffnungszeile, die geradezu auf eine Story wartete. "I had paid my last farewell to Harry a week ago, when his coffin was lowered into the frozen February ground..." Im Vorwort der Erstausgabe (1950) erläutert Graham Greene bereits im ersten Satz, "The Third Man was never written to be read but only to be seen." Es wird deshalb argumentiert, dass Graham Greene vor dem Drehbuch die Novella schrieb, um die Atmosphäre und Charakterisierung auszuarbeiten, die ihm als Quellenmaterial (er war vor den Dreharbeiten nach Europa und Wien gereist) für das "film treatment" diente auf dem der Film aufgebaut wurde. Die Novella wurde unter demselben Titel von Heinemann Ltd. veröffentlicht (zusammen mit The Fallen Idol).
Regisseur Carol Reed inszenierte im Lauf seiner Karriere etwa 40 Filme, aber seine goldene Zeit war kurz und umfasste gerade drei Jahre in den späten 1940ern mit Odd Man Out, The Fallen Idol (mit Michèle Morgan) und 1949 The Third Man. Aber diese Filme katapultierten ihn an die vorderste Front des britischen Films dieser Periode. Der letztgenannte war seine zweite Zusammenarbeit mit Graham Greene und gilt nicht nur als einer der besten Film Noir, sondern als einer der besten Filme die überhaupt je in Great Britain gedreht wurden, und der heute noch gern gesehen wird, unter anderem auch weil er nicht in den Fehler verfällt, die Intelligenz der Zuschauer zu unterschätzen. Ausserdem wurde der Film von Männern realisiert, die mit der Zerstörung Europas aus erster Hand vertraut waren. Carol Reed arbeitete während des Kriegs für eine Dokumentations-Einheit der British Army und Greene schrieb nicht nur über Spione, sondern arbeitete auch als solcher für den MI6 wo sein Vorgesetzter Kim Philby war, mit dem er eine lange Freundschaft unterhielt, die wohl auch die Aufdeckung Philbys als sowjetischer Doppelagent überlebte. Die Figur des Harry Lime ist am realen Kim Philby angelehnt, der etwa zehn Jahre später der lang-gesuchte echte "dritte Mann" werden sollte.
Die Idee des Films bestand darin, einen Thriller im ausgebombten Wien anzusiedeln, einer ebenso wie Berlin geteilten Stadt, die von Sowjets, Amerikanern, Franzosen und Briten besetzt war. Vor diesem Hintergrund blühten die dunklen Geschäfte geradezu. Reed setzte sich gegen seinen Produzenten David O. Selznik durch, statt am Set, ausschliesslich an Originalschauplätzen zu drehen. Ausserdem verweigerte er einen Hollywood Sound und bestand stattdessen auf Anton Karas Zither Music - "The Third Man Theme" das sehr schnell zu einem der grössten Hits der 1950er Jahre aufstieg. Vor allem aber lehnte er den vorgeschlagenen Noel Coward als Hauptdarsteller ab. Reed wusste präzise, wem er diese alles entscheidende die Rolle des amoralischen Harry Lime geben wollte: Orson Welles. Ein Film nach den Vorstellungen von Selznik wäre wahrscheinlich nach drei Monaten vergessen worden.
Holly Martins (Joseph Cotten) ist ein alkoholischer Autor von Pulp-Western und kommt nach Wien aufgrund einer Einladung von Harry Lime, seinem Stubenkollegen aus Collegezeiten. Aber als Martins in Wien eintrifft, kann er nur noch an der Beerdigung von Lime teilnehmen und wird nun getrieben von der Frage, wie sein Buddy plötzlich sterben konnte, dabei stösst er auf einen wahren Sumpf von Fragwürdigkeiten. Zunächst kontaktiert er Major Calloway (Trevor Howard), den britischen MP Offizier der den Fall untersucht hat. Dieser erklärt Martins, dass Lime durch einen Autounfall ums Leben gekommen und ausserdem eine mehr als zwielichtige Figur war, mit gefälschten Medikamenten handelte und rät ihm, Wien mit dem nächsten Zug zu verlassen. Aber Martins ist der geradlinige und manchmal etwas naive Cowboy, der die Wahrheit selbst erfahren möchte. Seine Nachforschungen führen ihn zu Limes Geliebter, der Schauspielerin Anna Schmidt (Alida Valli), die mit seiner Hilfe aus dem russischen Sektor geflohen ist. Obwohl sie mit offenen Karten zu spielen scheint, bleiben ihre Motive ambivalent. Holly wird nie erfahren, wie Anna den Krieg überlebte und Anna verspürt keinen Wunsch, ihm dies mitzuteilen. Und so gerät Holly immer tiefer in einen gefährlichen Teufelskreis aus Betrug, Korruption und Mord, wobei er auch auf widersprüchliche Aussagen eines Baron Kurtz und dem Portier (Paul Hörbiger) von Limes Wohnhaus stösst. Als der Portier auch noch von einem mysteriösen "dritten Mann" spricht, der während des Autounfalls anwesend war, ist Martins endgültig überzeugt, dass hier vieles nicht stimmen kann.
Diese Atmosphäre wird unterstützt von Cinematographer Robert Krasker und dessen ausserordentlich kreativ eingesetzten schrägen und ständig wechselnden Kameraperspektiven, die stark durch den deutschen Expressionismus beeinflusst waren (Krasker wurde mit einem Academy Award belohnt). Diese Technik, auch German Angle genannt, wurde wohl zuerst im Film Das Cabinet des Dr. Caligari (1920) eingesetzt, der auch als der erste echte Horror Film gilt. Carol Reed und Krasker beschreiben dadurch auch auf der formalen Ebene eine Stadt, die durch Krieg und Zerstörung komplett aus den Fugen geraten ist. Weitwinkelobjektive verzerren Gesichter und Schauplätze und bizarre Beleuchtungen verwandeln die Stadt in einen expressionistischen Albtraum.
Orson Welles wurde von Anfang an dramaturgisch geschickt als physisch abwesender Hauptdarsteller aufgebaut. Es dauert etwa eine Stunde bis er auftritt, aber dann macht er den wahrscheinlich grössten und denkwürdigsten Auftritt der Filmgeschichte. Er bleibt aber auch danach im Hintergrund, entweder ein Schatten im grellen Licht eines Scheinwerfer oder ständig in Bewegung, um bald darauf wieder in der Dunkelheit zu verschwinden, wie in der berühmten Szene in den Abwasserkanälen. Selbst in einer ruhigen Besprechung mit Martins, in der er gegenüber diesem die Motive seiner Aktivitäten zu rechtfertigen versucht, ist alles in Bewegung, da diese in einer schwingenden Gondel des sich drehenden Riesenrads im Wiener Prater stattfindet. Allerdings spricht Lime hier den berühmtesten Satz des Films: "In den 30 Jahren unter den Borgias hat es nur Krieg gegeben, Terror, Mord und Blut, aber dafür gab es Michelangelo, Leonardo da Vinci und die Renaissance. In der Schweiz herrschte brüderliche Liebe, 500 Jahre Demokratie und Frieden. Und was haben wir davon? Die Kuckucksuhr!" Ein Pedant könnte nun einwenden, dass die Kuckucksuhr nicht aus der Schweiz, sondern aus dem Schwarzwald kommt, aber schon Mark Twain erkannte, man solle sich einen guten Gag nicht durch Fakten verbauen und Orson Welles hat diesen Satz selbst umgeschrieben.
In einem Interview mit Peter Bogdanovich sagte Welles, dass es in einer Rolle wie der von Harry Lime nicht zählt, wie viele Dialogzeilen man hat, sondern wie wenige. Was wirklich zählt ist, wie oft die anderen Charaktere über einen sprechen. "Such a star vehicle is really a vehicle. All you have to do is ride."
The Third Man erinnert in gewisser Hinsicht an Casablanca, in beiden Filmen sind die Protagonisten amerikanische Exilanten, die in einer Welt von Verrat und Schwarzmarkt-Intrigen agieren, und beide lieben eine vom Krieg schicksalhaft gezeichnete Frau die sie nicht erringen können. Während jedoch das Ende von Casablanca mit einer positiven Note endet, reflektiert The Third Man bereits die Paranoia des Kalten Kriegs. Ausserdem bleibt Ilsa beim Leiter der Résistance um ihm in seinem gerechten Kampf beizustehen, Anna hingegen steht loyal zu einer Ratte. Dies drückt die letzte Einstellung des Films aus als sie nach Harrys Beerdigung auf dem Wiener Zentralfriedhof an Holly vorübergeht ohne ihn zu beachten, da er Harry Lime verraten und ausgeliefert hat.
am 18. April 2016
THE THIRD MAN [1949 / 2015] [Limited Collector's Edition] [Blu-ray] [UK Release] A Thing of True Cinematic Beauty! The Best British Film Ever Made!
‘THE THIRD MAN’ has been beautifully restored in a stunning new 4K restoration for the first time, showcasing the genius of this celebrated British “film noir” voted the “The greatest British film of all time” by a British Film Institute poll.
Holly Martins [Joseph Cotten], a naïve writer of pulp westerns, arrives in Vienna to meet his old friend Harry Lime [Orson Welles] but finds that Lime has apparently been killed in a suspicious accident. Holly Martins, too curious for his own good, hears contradictory stories about the circumstances of Harry Limes death and as witnesses disappear he finds himself chased by unknown assailants. Complicating matters are the sardonic Major Calloway [Trevor Howard], head of the British forces, and Lime’s stage actress mistress, Anna Schmidt [Alida Valli]. Will Holly Martin’s curiosity lead him to discover things about his old friend that he’d rather not know?
Brilliantly scripted by Graham Greene and set to Anton Karas’s evocative Zither score, this justly celebrated classic is further enhanced by Robert Krasker’s Academy Awards® winning cinematography and Orson Welles in one of his most iconic screen roles. Narrated by Carol Reed.
FILM FACT: Awards and Nominations: 1949 Cannes Film Festival: Win: Grand Prix. 1949 British Academy of Film and Television Arts: Win: Best Film. 1950 Academy Awards®: Win: Best Black-and-White Cinematography. Nominated: Best Film Editing. Nominated: Best Director. In 1999, the British Film Institute selected ‘The Third Man’ as the best British film of the 20th century.
Cast: Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard, Bernard Lee, Paul Hörbiger, Ernst Deutsch, Siegfried Breuer, Erich Ponto, Wilfrid Hyde-White, Hedwig Bleibtreu, Nelly Arno (uncredited), Jack Arrow (uncredited), Harold Ayer (uncredited), Harry Belcher (uncredited), Leo Bieber (uncredited), Paul Birch (uncredited), Martin Boddey (uncredited), Madge Brindley (uncredited), Robert Brown (uncredited), Ray Browne (uncredited), Paul Carpenter (uncredited), Marie-Louise Charlier (uncredited), Alexis Chesnakov (uncredited), Guy De Monceau (uncredited), Reed De Rouen (uncredited), Jack Faint (uncredited), Peter Fontaine (uncredited), Thomas Gallagher (uncredited), Michael Godfrey (uncredited), Vernon Greeves (uncredited), Herbert Halbik (uncredited), Paul Hardtmuth (uncredited), Walter Hertner (uncredited), Charles Irwin (uncredited), Lily Kann (uncredited), Geoffrey Keen (uncredited), Brookes Kyle (uncredited), Martin Miller (uncredited), Hannah Norbert (uncredited), Eric Pohlmann (uncredited), Carol Reed (UK Version voice) (uncredited), Annie Rosar (uncredited), Frederick Schreicker (uncredited), Hugo Schuster (uncredited), Karel Stepanek (uncredited), Gordon Tanner (uncredited), Brother Theodore (uncredited), Ernst Ulman (uncredited), Helga Wahlrow (uncredited) and Jenny Werner (uncredited),
Director: Carol Reed
Producers: Alexander Korda, Carol Reed, Hugh Perceval and David O. Selznick
Screenplay: Alexander Korda (uncredited), Carol Reed (uncredited), Graham Greene and Orson Welles (uncredited)
Composer: Anton Karas
Cinematography: Robert Krasker
Video Resolution: 1080p [Black-and-White]
Aspect Ratio: 1.37:1
Audio: English: 2.0 DTS-HD Master Audio Mono, English: 2.0 Dolby Digital Stereo, French 2.0 DTS-HD Master Audio Mono and German 2.0 DTS-HD Master Audio Mono.
Subtitles: English SDH, French and German
Running Time: Blu-ray: 100 minutes and DVD: 100 minutes
Region: Blu-ray: Region B/2 and DVD: PAL
Number of discs: 4
Studio: British Lion Film Corporation / StudioCanal
Andrew’s Blu-ray Review: ‘THE THIRD MAN’ , Carol Reed's classic tale of post-war friendship and comeuppance, is so uniquely stylized, it would seem that Carol Reed was in complete control of the picture from beginning to end. But dealing with producer David O. Selznick was something of a wrestling match for Carol Reed. And Orson Welles, who eventually stole the show and entered yet another realm of movie history as a memorably suave villain, purposefully turned the casting process into a cheeky game of cross-country cat and mouse.
Joseph Cotten plays Holly Martins, a two-bit American novelist who travels to Vienna, where his old friend, Harry Lime [Orson Welles], has offered him a job. Holly arrives to find that Harry Lime has died in a car accident. At the funeral, Holly meets Maj. Calloway [Trevor Howard], a military officer who informs him that Lime was actually a thief and murderer who had done brisk business selling tainted, often deadly penicillin on the black market. Eventually, Holly Martins will unexpectedly discover that Harry Lime isn't really dead, and that he suffers no guilt at all for having killed innocent people in the name of money. This causes to force Holly Martins to make a choice between protecting his old friend and helping the police take him down for his vile crimes.
‘THE THIRD MAN’ legendary finale, a nail-biting chase through Vienna's massive sewer system, is one of the great sequences in film history, and absolutely shouldn't be missed. But Orson Welles performance is also a mini-marvel, Graham Greene's sly dialogue crackles, Anton Karas strangely incongruous and equally effective, zither music casts a mesmerizing spell, and Carol Reed's final shot is an audacious jaw-dropper. You could argue that this immensely entertaining, if occasionally too self-conscious, picture is the best British film of the 1940s.
Still, ‘THE THIRD MAN’ film's beginnings were simple enough. Carol Reed and Graham Greene, who had enjoyed great success with a picture called ‘The Fallen Idol’ , were contemplating another project when they had dinner with producer Alexander Korda. During dinner, Graham Greene showed Alexander Korda a brief paragraph he had written that began, "I had paid my last farewell to Harry Lime a week ago, when his coffin was lowered into the frozen ground, so that it was with incredulity that I saw him pass by, without a sign of recognition, among the host of strangers in the Strand." On that intriguing concept alone, Alexander Korda hired Graham Greene to write another screenplay for Carol Reed and then Graham Greene left for Vienna, and scripted ‘THE THIRD MAN’ in about eight weeks.
Alexander Korda insisted that the story take place in Vienna, where four political powers like America, Russia, England, and France were then overseeing a rather corrupt post-war environment. He felt that this location would draw big-name American film stars, which would give the British production a leg-up in finding a U.S.A audience. Alexander Korda's game plan obviously worked, as the film became a major hit all over the world. While searching for inspiration in Vienna, Graham Greene had a fortuitous conversation with a friend who described a literal "underground police" department that patrolled the city's sewers, looking for shady types who were trying to pass from one Allied checkpoint to another without the proper papers. This titbit triggered Graham Greene's imagination, and led to Harry Lime's final bid for freedom beneath the cobblestone streets.
In Graham Greene's initial treatment for the script, Lime was described with a degree of detail that all but cried out "Orson Welles." "The picture I have of him on my files is an excellent one," he wrote. "He is caught by a street photographer with his stocky legs apart, big shoulders a little hunched, a belly that has known too much good food for too long, on his face a look of cheerful rascality, a geniality, a recognition that his happiness will make the world's day."
Unfortunately, David O. Selznick, the film's American co-producer, had been driving Carol Reed and Graham Greene crazy with inappropriate suggestions, and offered what he considered to be a brilliant casting choice for Harry Lime and none other than Noel Coward! How David O. Selznick came to the conclusion that the delicate, angular playwright (who rarely acted) was their man is anyone's guess, but Carol Reed wisely held out until Orson Welles was approved. On the way back to London via a privately chartered plane, Orson Welles played one final, brilliant prank on Alexander Korda. Vincent Korda asked him to hold a basket of fruit that he had gathered for his brother during the pursuit. This was post-war Europe, so fresh fruit was an exceedingly rare item. "It was going to be offered as a great present," Orson Welles said. "He'd gone and picked each piece of fruit. It was too good to be true! I knew Alexander Korda wouldn't touch any of it if it had been bitten into." So, when Vincent Korda was asleep, Orson Welles carefully took a bite out of each piece.
Blu-ray Video Quality – Presented in its original aspect ratio of 1.37:1 and you get to witness a totally glorious crisp brilliant Black-and-White 1080p image transfer, and arrive on Blu-ray courtesy of StudioCanal. The release is sourced from the recent 4K restoration of the film. The 4K restoration is excellent. Generally speaking, edges are better defined and a number of close-ups look cleaner. Contrast levels are also better balanced. Some of the most obvious improvements, however, are with shadow definition, and plenty of the night-time footage now appears a lot better balanced nuances. Grain is well resolved and tighter, but in some areas it could be difficult to see the difference. In fact, there are various segments where the better balanced contrast levels actually make a bigger difference. There is some mild unevenness before, during and after select transitions, but overall image stability is actually improved. Plenty of flicker and sporadic light warping that were present on StudioCanal's previous release are also eliminated. There is no large debris, cuts, torn frames, or damage marks. All in all, I prefer the overall better balanced appearance of StudioCanal's release and I think that at this point it is unquestionably the best one on the market. Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications. Like situation to access the different languages when the Blu-ray disc has loaded up, again to access the subtitles, the same situation applies where you click on the language displayed when the disc has loaded up.
Blu-ray Audio Quality – There are three standard audio tracks on this Blu-ray release: English: 2.0 DTS-HD Master Audio Mono, French 2.0 DTS-HD Master Audio Mono and German 2.0 DTS-HD Master Audio Mono. But the Audio Commentary is presented in English: 2.0 Dolby Digital Stereo. The audio experience is very clean and stable. There are no pops, no audio dropouts, or digital distortions to report in this review, and the Zither score sounds sublime. But one word of warning, you cannot access the French and German audio track once you have clicked for the English version of the film, but to access the French and German audio track, you have to click on the preferred language when the Blu-ray disc loads up.
Blu-ray Special Features and Extras:
DISC 1 [Blu-ray]
Audio Commentary: Commentary with Guy Hamilton, Simon Callow and Angela Allen: Here we find Guy Hamilton [Assistant Director], Simon Callow [Actor], and Angela Allen [2nd Unit Continuity] viewing the film with their comments and it is an audio commentary that is done just right. First to speak is Angela Allen and explains here relationship with working on the 1949 film. Next up is Guy Hamilton and also goes into great detail his involvement with the 1949 film, where he was brought in to be a first assistant, an finally Simon Callow chips in and informs us the reason he is there as he has a great deal of knowledge on Orson Welles. We find out in great detail why Anton Karas and his Zither was brought in to do the music soundtrack for the 1049 film, and all came about via Alexander Korda. Most of what they talk about while watching the first 10 minutes of the film, is mainly technical details, and it is mainly Simon Callow is asking all the questions. Simon Callow asks Angela Allen about filming down in the Vienna sewers and tells us it was a pleasant experience as they were very clean and smelt rather nice. They all talk extensively about the character Orson Welles plays in the film and we hear a lot of anecdotes that Orson Welles was a very eccentric person and all the antics he played up to before he appeared in front of the camera. Guy Hamilton and Angela Allen talk about Carol Reed and how he worked close with the editor so Carol Reed got the film looking like it wanted to appear in the cinema. We find out some very interesting facts about the music used for the soundtrack, whereas originally they were going to use a full orchestra composed music soundtrack, which idiot David O. Selznick wanted the full orchestra soundtrack, but Carol Reed put his foot down insisted that Anton Karas and his Zither was the preferred music soundtrack, but we also find out the interesting information on how Anton Karas got to be recorded, and Carol Reed sat Anton Karas in front of a Movieola and let him get on with composing the music as he watched the film and was all done in total improvisation, as Anton Karas cannot read music. But of course the Zither music became a missive hit around the world and especially for Anton Karas and it changed his life forever. As we get near to the end of the film, especially after the harry Lime funeral and it was all filmed at around 6:00am and everyone was tired and kept having lots of silly arguments, especially the ending of the film, and when you see Joseph Cotten leaning against the cart, you had men up in the trees throwing the leaves down and were told to take it slowly. But of course we are informed again about the dispute of the ending of the film, which had stupid ignorant David O. Selznick who caused lots of falling out with his idea of the ending, which would have been a total disaster, but of course Carol Reed sent a message back to David O. Selznick and told him to get stuffed, and so Carol Reed caused the great classic ending that was shot with Alida Valli who walks past Joseph Cotten and ignoring him, which of course David O. Selznick was totally incensed, but lucky for us he could not touch the film or change the ending, but of course David O. Selznick eventually got his comeuppance, because the 1949 film because the most massive box office hit around the world. And so ends another fascinating and interesting audio commentary, as you hear some totally fascinating interesting anecdotes about ‘THE THIRD MAN’ film from especially Guy Hamilton and Angela Allen.
Special Feature: Shadowing The Third Man  [1080i] [1.78:1] [89:39] This special rare documentary narrated by John Hurt, opens with a typical Graham Greene line; "Isn't it rather dangerous to mix fact and fiction?" and explores the making of Graham Greene's all time classic film ‘THE THIRD MAN.’ This is the first documentary ever to be made on this much-loved film which was voted the best British film of the 20th century in a BFI poll. ‘Shadowing the Third Man’ literally projects the classic 1948 feature film back to the original locations in the Austrian capital Vienna. Using state-of-the-art projection technology, the stunning images created by Carol Reed and the Oscar® winning Director of Photography, Robert Krasker are beamed on a huge scale on to the glorious architecture of present-day restored Vienna and the city reclaims its place as one of the central characters in the film. You get to see how the great British director Carol Reed used the ruins of a bombed out city, just 3 years after WWII to set a superb stage for such stars as Orson Welles [Harry Lime], Joseph Cotton [Holly Martins], Trevor Howard [Major Calloway] and Alida Valli [Anna]. Two of the last remaining members of the crew have returned to Vienna to tour the locations and bring the filming to life. The Assistant Director Guy Hamilton, who went on to direct three Bond movies is joined by the continuity assistant Angela Allen, to tell what it was like to film in the Vienna sewers. Finally, “Shadowing the Third Man” looks at the fascinating creative east-west tensions between the British and American views of the world, as Alexander Korda in London, and David O. Selznick in Hollywood, the film's two immensely powerful Co-executive Producers battled it out behind the scenes to form the film in their respective images and the final outcome. Contributors are Angela Allen, Joseph Cotton (archive footage), Graham Greene (archive footage), Guy Hamilton, Trevor Howard (archive footage), Anton Karas (archive footage), Alexander Korda (archive footage), Vincent Korda (archive footage), Carol Reed (archive footage), Daniel Selznick (son), David O. Selznick (archive footage), Karl Hermann Spitzy, Alida Valli (archive footage) and Orson Welles (archive footage).
Special Feature: Interview and Zither Performance by Cornelia Mayer  [1080p] [1.78:1] [4:43] Here we get to see Ms. Cornelia Mayer giving us a performance of the “Harry Lime Theme” and also the “Café Mozart Waltz.” Here Ms. Cornelia Mayer explains in great detail about the musical instrument the “ZITHER” and we also find out that this young lady to play the musical instrument at the age of 10, and it was also at the same time the first time Ms. Cornelia heard the “Harry Lime Theme” played by her Father, and was also the first piece of music that Ms. Cornelia was taught. Ms. Cornelia Mayer also tells us that Anton Karas who composed the music soundtrack for ‘THE THIRD MAN’ film, was not trained as a musician and self-taught himself to play the Zither and when he did the music for ‘THE THIRD MAN’ he did not compose it on sheet music, but was all improvised while viewing the film.
Special Feature: The Third Man Interactive Vienna Tour  [1080p] [1.78:1] This interactive map was inspired by the film ‘THE THIRD MAN’ and what you get to view is all the names of the places where the film was shot and when you click on each individual name title, you get to see Dr. Brigitte Timmermann, who is the founder and senior partner of “VIENNA WALKS & TALKS” and takes you on a tour of the City of Vienna and explains in great historic detail, as well as in-depth detail of each place the film was shot in. So basically you get to see Vienna in 1949 with film clips and then the same place in Vienna in 2015 and this is totally fascinating inside facts relating to the film and the locations. But I suggest you set aside some spare time, as to view the all of the named places with the map of the City of Vienna, will take the same amount of time it takes to view the ‘THE THIRD MAN’ film. The places in Vienna you get to visit are: Karlsplatz [3:00]; Zentralfriedhof [4:00]; Stadtpark [3:00]; Sacher Hotel [5:00]; Josefsplatz [3:00]; Molkerbastei [3:00]; Am Hof [5:00]; Maria Am Gestade [4:00]; Hoher Markt [2:00]; Stephansdom [2:00]; Morzinplatz [3:00]; Ruprechtskirche [2:00] and Prater [4:00].
Special Feature: The Third Man on the Radio  [1080p] [1.78:1] [20:00] Here we get to listen to a very rare American radio recording of “The Third Man on the Radio: The Lives of Harry Lime.” The episode we hear is entitled “A Ticket To Tangiers”  and was written and performed by Orson Welles; and the 1951 Lux Radio Theatre adaptation of ‘The Third Man,’ where Anti-hero Harry Lime is persuaded to travel to Morocco, where a dangerous widow needs his assistance. With each episode it would begin with "The Third Man Theme" being played, abruptly cut off by an echoing gunshot. Then Welles would speak: "That was the shot that killed Harry Lime. He died in a sewer beneath Vienna, as those of you who saw the film ‘The Third Man.’ Yes, that was the end of Harry Lime ... but it was not the beginning. Harry Lime had many lives ... and I can recount all of them. How do I know? Very simple. Because my name is Harry Lime." Orson Welles’s deep rumble is very hypnotic, and had it not been for his involvement, this radio play would have been totally dreadful. Throughout the radio broadcast you hear the music of Anton Karas playing his Zither. I also found the sound very harsh, but if it had been recorded by the BBC the sound would be a much cleaner natural professional sound. One very strange aspect of this broadcast is at the end of the play we get repeated the music of Anton Karas playing his Zither.
Special Feature: Guardian / National Film Theatre Interview with Joseph Cotten [Audio only] [47:42] To set the scene we get the music of Aton Karas on his Zither doing the music from ‘THE THIRD MAN.’ Recorded in 1987 and here we find Joseph Cotten who defies the Doctor’s orders by attending the NFT screening of ‘THE THIRD MAN’ where, through a severe case of laryngitis, he talks at great length about the film and his career with the help of his wife, Patricia Medina. It’s a delight to see or, rather should I say, hear the witty dynamic between this couple who are both entertaining to listen to and are very funny. One funny anecdote where hear, especially via his wife, is that they went back to Vienna for a reunion and was asked to take a trip down the sewers for a photo shoot and found the whole experience very funny, and especially being drunk their health with loads of bottles of wines, but at the same time they met the “sewer police” that were in the ‘THE THIRD MAN’ film, but most of all it was very enjoyable trip down the Vienne sewers. There’s a particularly very humorous moment that plays out like this, with the Interviewer, where he says, “Did you win an acting award for ‘Portrait of Jennie’?” and Joseph Cotton replies by saying, “Where is it?” and of course the audience respond with hoots of laughter. Because Joseph Cotten had the severe case of laryngitis, I found it slightly painful to listen to him trying desperately to talk and sometimes you had a job to hear what was said, especially because of the badly set up with the microphone, plus of course when the audience asks questions you can only just about hear the question asked.
Special Feature: Guardian / National Film Theatre Interview with Graham Greene [Audio only] [8:04] This is a much briefer recording than the one with Joseph Cotten, whose interview was equally insightful, witty and very comical, and was recorded in 1984. When asked about David O. Selznick’s involvement in the film, Graham Greene says dryly to the interviewer, “We didn’t accept any of his ideas,” and quite understandable really under the circumstances. One of David O. Selznick’s suggestions was that the film be called ‘Night Time in Vienna’ instead of ‘THE THIRD MAN’ and once again the audience laugh out loud at this ridiculous David O. Selznick’s pointless comment. Despite the shorter length, there is still a lot of information was crammed in the session and it was also a far superior and much clearer recording session.
Special Feature: Joseph Cotton’s Alternative Opening Voice-over Narration  [480i] [1.33:1] [2:00] Interesting to hear this rare item, but I can’t help but feel that the Carol Reed’s voice-over, of the European film’s opening minutes, suits the sardonic tone of the social-commentary of post-war Austria so much better, especially as it is a much more superior professional voiceover experience presentation. Somehow, for me it is not at all as affective with Joseph Cotten introducing the film in that way for the American audiences. I have nothing against Joseph Cotten, he was a marvellous actor, and it just sounds so much better with the Graham Greene’s opening words being read by Carol Reed.
Special Feature: THE THIRD MAN: A Filmmaker’s Influence  [1080p] [1.78:1] [16:06] In this brand new special feature, Martin Scorsese [Director] kicks off this discussion about the fascination with this classic film ‘THE THIRD MAN,’ and Martin Scorsese informs us that the first time he saw this film was on his television in New York and was either in 1957 or 1958, he is not sure, but from that first viewing of the film he was hooked and stated to become aware of its powerful cinema image. The other contributors to this special are John Sayles [Director]; Hossein Amini [Screenwriter]; Franc Roddam [Director] and Ben Wheatly [Director].
Special Feature: Restoring The Third Man  [1080p] [1.78:1] [19:38] In this brand new special feature, Paul Collard [Vice President of Film & Digital Services/Deluxe]; Marie Fieldman [Film Specialist]; Paul Doogan [Head of Scanning]; Tom Barrett [Restoration Supervisor]; Tom Wiltshire [Digital Restoration Artist] and Stephen Bearman [Senior Grader] discuss in great detail StudioCanal's new 4K restoration of ‘THE THIRD MAN.’ I feel it is now the best you will ever view now that is has been presented in 4K image, that you will ever see from this StudioCanal Blu-ray disc and totally far superior to anything that The Criterion Collection brought out on the Region A/1 Blu-ray disc release.
Special Feature: Dangerous Edge: Graham Greene Documentary  [1080p] [1.78:1] [56:00] This film is a portrait of a writer Graham Greene (1904-1991). It explores how Graham Greene's life both inspired great writing and drove him to attempt suicide. He was a British spy, a doubting Catholic, and a manic-depressive who wrote critically-acclaimed, best-selling novels, including “The Quiet American,” “Brighton Rock,” “The End of the Affair” and “The Third Man.” But before all that Graham Greene went to Berkhamstead School, where his father was headmaster, and was bullied, not least for the assumption that he was a spy for paternal authority (the spy persona would return later in reality; psychologically he himself remained “his most elusive character”). Graham Greene experienced profound depression and those brushes with suicide through Russian roulette and at the age of 16 underwent six months of psychoanalysis, an experience certainly progressive for its time. Other major participants include novelist and screenwriter Sir John Mortimer, novelist and former SIS agent John LeCarré, award-winning literary critic and novelist David Lodge, acclaimed writer Paul Theroux, former CIA operative and author of “The Great Game” Frederick Hitz, Graham Greene's wife, Vivien Greene, and his daughter Caroline Bourget. Other contributors include Shirley Hazzard [Writer]; Dr. Kay Redfield Jamison [Professor of Psychiatry]; Norman Sherry [Biographer]; Belinda Straight; Richard Greene [Author]; Dr. Brigitte Timmermann [VIENNA WALKS & TALKS]; Bernard Diederich [Author]; John Perkins [Author] and Nathan Shropshire [Young Graham Greene].
Theatrical Trailer  [1080p] [1.37:1] [1:33] [1:33] This is the Original Theatrical Trailer for the film ‘THE THIRD MAN.’ This is a presentation of a new 4K brand new-trailer for the film ‘THE THIRD MAN’ by StudioCanal and is to commemorate this brand new Blu-Ray release and the film’s re-release in cinemas. This is a definite 5 star presentation.
DISC 2 [DVD] Audio Commentary: Commentary with Guy Hamilton, Simon Callow and Angela Allen. Special Feature: The Third Man: A Filmmaker’s Influence. Special Feature: Restoring The Third Man. Special Feature: Interview and Zither Performance by Cornelia Mayer. Special Feature: Guardian National Film Theatre Interview with Joseph Cotton [Audio only]. Special Feature: Guardian National Film Theatre Interview with Graham Greene [Audio only]. Special Feature: Joseph Cotton’s Alternative Opening Voiceover Narration.
DISC 3 [DVD] Special Feature: Shadowing The Third Man. Special Feature: Dangerous Edge: Graham Greene Documentary. Special Feature: The Third Man on the Radio. Theatrical Trailer.
DISC 4 The Third Man Soundtrack [Compact Disc] Music Composed by Anton Karas. Music performed by Gertrud Huber [Zither] except tracks 19 and 20, which are performed by The City of Prague Philharmonic Orchestra.
BONUS: A beautiful designed 20 page booklet entitled “THE THIRD MAN – Mixing Fact With Fiction” that has an in-depth look at the famous 1949 film. You also get fantastic rare Black-and-White and Colour images relating to the film. You also have 4 rare Black-and-White Art Cards. Plus, a fantastic designed ‘THE THIRD MAN’ film poster.
Finally, the special StudioCanal 2015 Limited Collector's Edition release of 'THE THIRD MAN' is definitely unique and has an awesome amount of brilliant extras and this Blu-ray disc release is far superior to anything that The Criterion Collection Blu-ray has brought out and to show you why I feel this Blu-ray disc release is out of this world and the best released Blu-ray disc Collection ever. This StudioCanal's brand new 4K restoration of Carol Reed's classic film ‘THE THIRD MAN’ is totally fantastic. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Fan
Le Cinema Paradiso
WARE, United Kingdom