
Post World War II Vienna has been divided into sectors by the allies. Buildings are crumbled and in ruins from the war. Supply shortages have created a thriving black market. Everyone is struggling to survive. Enter Holly Martins. He is an out of work American pulp fiction writer who, at the request of his best friend Harry Lime, decides to go to Vienna. Once there, he finds that his friend Harry has died in a traffic accident. Being an inquisitive author, he decides to do some investigating on his own about the death of his friend. Once he begins interviewing Harry's friends and other associates, he quickly realizes that the facts don't add up and everyone has a different story about how Harry died. Holly then decides that he must get to the bottom of the mystery into Harry's untimely demise. Directed by Carole Reed, The Third Man is one of those movies where you find different things each time you watch it. The backdrop of post-war Vienna adds to the immediacy and desperation of the people who live there. Harry Lime, played by the incredible Orson Welles, is the man of the hour. What exactly happened to Lime? Did he die instantly or did he suffer? His best friend Holly (Joseph Cotten) must get to the bottom of Harry's death and won't rest until he does so. Anna (Valli) is Harry's grief-stricken lover who is trying to survive as an actress who escaped Soviet-occupied Vienna with a forged passport. What does she really know? Is she telling Holly the truth? With its lighting and camera angles, seedy locations, and unique zither score by Anton Karas, The Third Man is one of the finest examples of film noir. The atmosphere of desperation and exhaustion and cynicism right at the cusp of the Cold War coupled with scenes filmed on location in devastated Vienna lends an air to the movie that is unmatched. Some of the most famous scenes in cinema history come from this movie not to mention one of the most memorable monologues. If you have never watched this movie, I really urge you to have a look at it. It is remarkable.
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