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Den tredje mand

The Third Man

Instrueret af Carol Reed
Storbritannien, 1949
Film noir, Mysterie, Thriller


It’s post-WWII Vienna, an American pulp writer finds the friend that invited him over, dead. Whilst trying to uncover the mystery behind his friends death, he becomes caught up in the black market and falls for the grief-stricken lover.

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Den tredje mand Instrueret af Carol Reed

Priser & festivaler

Cannes Film Festival

1949 | Vinder: Grand Prize of the Festival

Academy Awards

1951 | Vinder: Best Cinematography, Black-and-White

1951 | 2 nomineringer inklusiv: Best Director

National Board of Review

1950 | Vinder: Top Foreign Films

I read an interview years ago with Pedro Almodovar in which he said that when a film is really working, it seems to be dancing across the screen. “The Third Man” is a great dancer… When you think about it later… you think about the way it sounds and moves—the look and feel and rhythm of it, the way it shimmies and glides. It is, to borrow a phrase from the script, a magic lantern show, set to music.
June 29, 2015
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Pristinely restored and re-released in the UK, Carol Reed’s crepuscular 1949 masterwork only matures with age, its themes becoming more fragile and illusive the closer we get to it. Like Orson Welles’ own Touch of Evil, to come in 1958, this is a film which does away with such cretinous inanity as offering up goodies and baddies, instead presenting its cast of characters as doing things which they believe to be good, but are not seen as such through the eyes of observers.
June 26, 2015
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[It’s] a peculiarly hollow, centerless blend of theatre and literature, from which what’s missing, for the most part (though not entirely), is precisely the cinema. Graham Greene’s script is filled with dramatic touches that Carol Reed’s camera perceptively catches; but it catches them as the actors put them over from the stage, playing toward it as if it were an audience
June 26, 2015
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