The Third Man

Hunted by men ... Sought by WOMEN!

Release Date 1949-08-31
Runtime 105 minutes
Status Released
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Overview

In postwar Vienna, Austria, Holly Martins, a writer of pulp Westerns, arrives penniless as a guest of his childhood chum Harry Lime, only to learn he has died. Martins develops a conspiracy theory after learning of a "third man" present at the time of Harry's death, running into interference from British officer Major Calloway, and falling head-over-heels for Harry's grief-stricken lover, Anna.

Budget $0
Revenue $1,226,098
Vote Average 7.916/10
Vote Count 1977
Popularity 3.2419
Original Language en

Backdrop

Available Languages

English US
Title:
"Hunted by men ... Sought by WOMEN!"
Deutsch DE
Title: Der dritte Mann
""
suomi FI
Title: Kolmas mies
""
Español ES
Title: El tercer hombre
"Cazado por hombres ... Buscado por MUJERES!"
Italiano IT
Title: Il terzo uomo
""
Français FR
Title: Le Troisième Homme
"Rien ne l'a préparé à ce qu'il va découvrir…"

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Cast

Crew

Reviews

CharlesTheBold
None/10
Holly Martens (Joseph Cotten) receives a job offer from his friend Harry Lime (Orson Welles) in postwar occupied Vienna. He arrives there only to find that Lime is dead and every witness has a different story. Being a pulp writer, Holly thinks he can solve the mystery. But this is a Graham Greene story, and the mystery is not just a whodunit but an exploration of evil. Tangling with a nihilistic band of black marketers exploiting the corruption and ruin of a great city after the war, Holly is told that he is in way over his head. The movie has many unusual touches. Expressionist camerawork increases the feeling of dread. The traditional orchestral accompaniment is eliminated, replaced by a single folk musician playing an eerie tune on a zither. Several scenes of the movie are in un-subtitled Austrian-German, leaving the audience feeling as bewildered as Holly as he tries to communicate with the locals. Holly's amateur sleuthing is frequently comic, in a story that is deadly serious. One of the masterpieces of noir cinema.
John Chard
None/10
Nobody thinks in terms of human beings. Governments don't. Why should we? The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker. When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems..... It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters. A maze of moist cobbled streets host chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10
John Chard
None/10
Nobody thinks in terms of human beings. Governments don't. Why should we? The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker. When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems... It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters. A maze of moist cobbled streets do host foot chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10
CinemaSerf
7.0/10
Joseph Cotton ("Holly") arrives in post war Vienna to meet up with his former school friend "Harry Lime" - only to discover that he was recently killed in an automobile accident. Without his promised job, he starts to chat with the friends of the dead man and swiftly spots some inconsistencies that lead him to become suspicious. He determines to try and find out just quite what happened. It becomes harder and harder for "Holly" to get straight answers - even from those whom he ought to be able to rely upon - "Maj. Calloway" (Trevor Howard) nor even "Anna" (Alida Valli), the dead man's lover - seem to be able (or willing to help). Gradually, also, he begins to suspect that he is being followed. Pinpricks of light from cigarettes in the shadows, shifting bodies hugging the dimly lit doorways - and he begins to realise that maybe his friend was not quite as scrupulous and honourable as he might have wished or appeared. Right from Anton Karas playing the distinctive zither theme at the top of the film we are treated to a wonderfully evocative adaptation of Graham Greene's mystery thriller and Carol Reed really does well with the pace of this too. We do make progress, but "Holly" has to work hard - as do we - for it, and his shady protagonists remain in the shadows, really effectively. This is a super story of trust, loyalty and greed that really is still as good now as it was 70 years ago.
Filipe Manuel Neto
8.0/10
**Can a good movie be spoiled by an inadequate soundtrack? It can, and this film is proof of that.** I like film noir a lot, and I saw this film with pleasure. It's one of those films that you can't miss: it has an excellent story, complex characters, a lot of suspense and a good dose of humor, very elegant, almost intertwined with the main story, where we have a young American writer trying to unravel the very poorly explained death. from a friend in the half-ruined city that was Vienna in the years after World War II. The local police, rather than helping, seem to be part of the problem and, as he progresses in the investigations, there are more and more indicants of a crime. The film is very good and is very well directed by Carol Reed. The most common aspects of noir are all there: the light, the dense shadows, the tense and dark urban environment, a crime, many potential suspects and criminals, an apparently corrupt police and an elegant young woman who steals hearts, but it may not be so innocent as it looks. The film doesn't let us down for a minute and gives us exactly what we want to see and feel, and that's truly satisfying. To make things even better, we have good sets and believable costumes, a good use of exterior scenes and a city that, even destroyed, never loses its beauty and elegance. The cinematography couldn't be better, the camera work is worthy of being studied in film schools, and the effects are used sparingly and effectively. The cast is truly competent: despite being the most resonant name, Orson Welles is not the most visible actor. Still young and relatively good-looking (he would put on more weight in the following years, as we know), the actor appears little, but steals our attention whenever he appears. Joseph Cotten is the real protagonist of the film, and he does his job equally well. He is one of those actors that is forgotten today, but he deserves a lot that his work is reviewed and revisited. The only thing, and it's really just that, that brings this film down is its soundtrack and insistence on a mandolin theme that couldn't be more inappropriate. It could even have been used as an opening theme, during the credits, but no… the annoying music intrudes throughout the film to the point of being unbearable. It sounds like a melody made for a Marx Brothers movie, and it doesn't stop here! It's truly annoying and cuts the mood of the movie!

Famous Conversations

WOMAN: Warscheinlich ist der murder.

ANNA: They think you did it.

WOMAN: Hier sind fruher Fursten ans unt eingeganger. Hier hat sogar ein Metternich verkehrt...

ANNA: Give her some cigarettes.

WOMAN: Das worren nooh zeiten.

WOMAN: Den leuten.

ANNA: Ja, ja, ja.

WOMAN: Sayen sie ed our den Leuten damit sie es auch wissen.

ANNA: Ich weiss nicht.

WOMAN: Das mussen sie doch wissen. Ich meine ohne grund wird die politzei doch nicht ins Hans komme Fraulein Schmidt, ein schande...

MARTINS: ...anyway?

ANNA: From Kurtz. They have just been arrested. But Harry won't come, he's not a fool.

MARTINS: ...quarrel?

ANNA: If you want to sell your service, I'm not willing to be the price... I loved him. You loved him. What good have we done him. Look at yourself, they have names for faces like that.

MARTINS: That's his headache.

ANNA: His.

MARTINS: Oh, well.

ANNA: Why are you lying?

MARTINS: We're getting you out of here, aren't we?

MARTINS: Of course I didn't tell Calloway.

ANNA: Why should he help me like that? The Russians will only make trouble for him.

ANNA: Did he say anything about me - tell me?

MARTINS: Oh, the usual things...

ANNA: There's something wrong. Did you tell Calloway about meeting Harry?

ANNA: What is going to happen? Where is Harry?

MARTINS: He's safe in the Russian zone.

ANNA: How do you know?

MARTINS: I saw him today.

MARTINS: Here, it will be cold on that train.

ANNA: I shall be all right.

MARTINS: You send me a wire as soon as you arrive.

ANNA: What is on your mind? Why did you hide?

MARTINS: Hide? Can't a fellow have a drink?

MARTINS: Harry.

ANNA: I'm sorry.

MARTINS: ...Headquarters.

ANNA: Have you been seeing Major Calloway again?

MARTINS: ...is there?

ANNA: How did you know I would be here?

ANNA: Are you going, too?

MARTINS: Oh...

MARTINS: ...again.

ANNA: There isn't enough for two laughs.

ANNA: ...and my lover. He was Harry.

MARTINS: Well, don't preach wisdom to me. You talk about him as if he had occasional bad manners.

ANNA: He's better dead. I know he was mixed up - but not like that.

MARTINS: I knew him for twenty years - at least I thought I knew him. I suppose he was laughing at fools like us all the time.

ANNA: He liked to laugh.

MARTINS: Seventy pounds a tube. He wanted me to write for his great medical charity.

ANNA: I'll put these flowers in water.

MARTINS: ...you know.

ANNA: He told you, didn't he?

ANNA: What happened to your hand?

MARTINS: A parrot...Let it go.

ANNA: Have you seen Calloway?

MARTINS: Can you imagine a parrot nipping a man?

ANNA: Have you?

MARTINS: I'm going back home.

ANNA: Why?

ANNA: I thought you were going to go away. Aren't the police after you?

MARTINS: I don't know.

ANNA: Wer ist da?

MARTINS: Me.

MARTINS: Sneak out the other way, and go back to your theatre. I'd better not see you again.

ANNA: What are you going to do?

MARTINS: I wish I knew.

ANNA: Be sensible - tell Major Calloway.

ANNA: Let's go away.

MARTINS: What's the matter?

ANNA: Let's not get into any more trouble.

MARTINS: Wait here.

MARTINS: That's Harry's place, isn't it?

ANNA: Yes.

MARTINS: Seemed like a good idea.

ANNA: It's just what he used to say.

MARTINS: Well, I didn't learn that from him.

ANNA: If we have to see the Porter we'd better go.

MARTINS: What's the hurry? Can't we talk quietly for a couple of minutes?

ANNA: I thought you wanted...

MARTINS: A moment ago you said you didn't want to see the Porter.

ANNA: We're both in it, Harry.

MARTINS: Holly.

ANNA: I'm so sorry.

MARTINS: It's all right.

ANNA: ...and buried him.

MARTINS: Anna.

MARTINS: Oh, that was many years ago.

ANNA: Tell me more.

MARTINS: Oh, it's very difficult. You know Harry...we didn't do...

MARTINS: ...to steal my girl.

ANNA: Where is she?

ANNA: When...what did you do?

MARTINS: Oh, we didn't make much sense. Drank too much. Once he tried...

ANNA: Tell me about him.

MARTINS: Tell you what?

MARTINS: H-E-Z-T...

ANNA: Oh, let me see. No, no that's not the cue. It means she has to sit down.

MARTINS: Gestern bein heurigen...

ANNA: What's that?

MARTINS: "Ein hurigan" - I guess.

MARTINS: Do I...

ANNA: Well you read this.

MARTINS: Can I hear you?

ANNA: In German?

MARTINS: I can try. Is it comedy, or tragedy?

ANNA: Comedy. I don't play tragedy.

MARTINS: Might as well I suppose. Are you busy?

ANNA: Just another part I've got to learn.

MARTINS: The Porter is going to talk to us tonight.

ANNA: Need we go through it all again?

MARTINS: Who are you looking for now?

ANNA: Sssh. Don't. Don't, please.

MARTINS: Silly looking bunch.

MARTINS: Harry?

ANNA: Yes. He moved his head, but the rest is good, isn't it?

MARTINS: Drink?

ANNA: Whiskey.

MARTINS: Oh, what was the name of that doctor? Harry's doctor?

ANNA: Dr. Winkel.

MARTINS: Anything really wrong with your papers?

ANNA: They're forged.

MARTINS: Why?

ANNA: The Russians would claim me. I come from Czechoslovakia.

MARTINS: What's she talking about?

ANNA: The police. They're searching my room. Sie mussen doch wissen.

ANNA: You shouldn't get mixed up in this.

MARTINS: Well, if I do find out something, can I look you up again?

ANNA: Why don't you leave this town - go home?

ANNA: I don't know. They didn't answer.

MARTINS: I was told there were only two men there.

MARTINS: ...at all.

ANNA: I know. I wondered about it a hundred times, if it really was an accident.

ANNA: Yes. They said it wasn't the driver's fault. Harry often said what a careful driver he was.

MARTINS: He was Harry's driver?

ANNA: Mmmm.

MARTINS: He said he remembered me too. Seems to show he wasn't in much pain.

ANNA: Dr. Winkel told me that.

MARTINS: Dr. Winkel? Who is he?

ANNA: The doctor Harry used to go to. He was passing just after it happened.

MARTINS: His own doctor?

ANNA: Yes.

MARTINS: Were you at the inquest?

MARTINS: Don't understand what Harry saw in a fellow like that.

ANNA: That was the man that brought me some money when Harry died. He said Harry had been anxious at the last moment.

ANNA: No.

MARTINS: He has a little dog.

ANNA: Oh, yes, yes.

ANNA: Oh, American, thank you. I like them.

MARTINS: I was talking to another friend of Harry's. A Baron Kurtz - do you know him?

MARTINS: Well, I saw you at the funeral.

ANNA: I'm so sorry, I didn't notice much.

MARTINS: You were in love with him, weren't you?

ANNA: I don't know. How can you know a thing like that afterwards. I don't know anything any more.

MARTINS: But I could follow it fine. Perhaps Harry told you about me. My name's Holly Martins.

ANNA: No, he never told me about his friends. Would you like some tea?

MARTINS: You were awfully good.

ANNA: Do you understand German?

MARTINS: No, no...oh...excuse me.

MARTINS: Thank you.

ANNA: Sit down.

MARTINS: Thank you. I enjoyed the play very much.

ANNA: Nichts danke. Kein.

POPESCU: Entschuldigen sie. It was a terrible thing.

POPESCU: Cigarette, Miss Schmidt?

ANNA: Thank you.

POPESCU: Keep the packet.

POPESCU: Good evening, Miss Schmidt. You remember me?

ANNA: Of course.

POPESCU: I helped Harry fix her papers, Mr. Martins...

CALLOWAY: Vienna is a closed city, Miss Schmidt, he can't get away.

ANNA: Poor Harry, I wish he was dead, he would be safe from all of you then.

CALLOWAY: I said another man was buried in his place.

ANNA: Where's Harry?

CALLOWAY: That's what we want to find out.

ANNA: I'm sorry - I don't seem able to understand anything you say. He's alive now this minute - he's doing something.

CALLOWAY: Miss Schmidt, we know he is somewhere across the canal in the Russian sector... You may as well help us. In a few minutes Colonel Brodsky will be questioning you about your papers. Tell me where Lime is.

ANNA: I don't know.

CALLOWAY: If you help me, I am prepared to help you. ANNA Martins always said you were a fool...

CALLOWAY: Joseph Harbin's body was found in the coffin.

ANNA: What did you say? I'm sorry...

CALLOWAY: I want the truth, Miss Schmidt. We know he is alive.

ANNA: It's true then?

CALLOWAY: Now then, Miss Schmidt, I'm not interested in your forged papers - that's purely a Russian case. When did you last see Lime?

ANNA: Two weeks ago.

CALLOWAY: You can help us.

ANNA: What can I tell you but that you have got everything upside down.

CALLOWAY: In one of his letters he asked you to telephone - a good friend of his called Joseph. He gave you the number of the Casanova Club. That is where a lot of friends of Lime used to go.

ANNA: It wasn't important.

CALLOWAY: Joseph Harbin...

ANNA: No.

CALLOWAY: He works in a military hospital.

ANNA: No.

CALLOWAY: It's stupid to lie to me, Miss Schmidt. I'm in a position to help you.

CALLOWAY: Do you know this man?

ANNA: I have never seen him.

CALLOWAY: You know as much as I do, Miss Schmidt - you were intimate with Lime, weren't you?

ANNA: We loved each other, do you mean that?

CALLOWAY: Right. Sit down Miss Schmidt, we will send your letters and things back to you.

ANNA: And my passport?

ANNA: Must you take those letters? CALLOWAY Yes, I'm afraid so.

ANNA: They're Harry's.

CALLOWAY: That's the reason.

ANNA: You won't learn anything from them. They are only love letters. There are not many of them.

CALLOWAY: They'll be returned to you, Miss Schmidt, as soon as they've been examined.

ANNA: There's nothing in them.

CALLOWAY: ...parents.

ANNA: Yes.

ANNA: Thank you, you have been so kind. Anna moves down to stand CL of Paine.

PAINE: Well, I'll be saying good night. Good night, Miss.

ANNA: Good-bye.

PAINE: Here we are. You'll be all right here, Miss.

ANNA: I don't...

PAINE: There you are, miss, your receipt for the letters.

ANNA: I don't want it.

PAINE: Well, I've got it when you want it, miss.

ANNA: Must you take those?

PAINE: They'll be returned, miss.

ANNA: They are - private - letters.

PAINE: That's all right, miss, don't worry. We're used to it - like doctors.

MARTINS: I would very much like to meet you, Baron. Come around.

BARON: Austrians aren't allowed in your hotel. Couldn't we meet at the Mozart cafe?

MARTINS: Where?

BARON: Just around the corner.

MARTINS: How will I know you?

BARON: I'll carry a copy of one of your books. Harry gave it to me.

MARTINS: Yes.

BARON: I was a friend of Harry Lime.

CALLOWAY: ...Austrian Police Headquarters.

RUSSIAN: Can I have that woman's passport?

RUSSIAN: Please keep this passport to yourself, until I make some inquiries, will you, Major?

CALLOWAY: Yes, of course.

RUSSIAN: Thank you.

RUSSIAN: We are interested in this case. Have you arrested the girl?

CALLOWAY: No, not yet.

CALLOWAY: What is it?

RUSSIAN: This is forgery. It is very clever.

CALLOWAY: Be sensible, Martins.

MARTINS: I haven't got a sensible name, Calloway.

MARTINS: Wait a minute - let me out.

CALLOWAY: Well, there's not much time.

MARTINS: One can't just leave - please.

MARTINS: Calloway, can't you do something about Anna?

CALLOWAY: I'll do what I can, if she'll let me.

CALLOWAY: What time is it?

MARTINS: Two thirty.

CALLOWAY: Paine lent me one of your books; "Oklahoma Kid," I think it was. Read a bit of it... Think it's pretty good. What made you take up this sort of thing? Been doing it for long?

MARTINS: All right, Calloway. You win.

CALLOWAY: I never knew there were snake charmers in Texas...

MARTINS: I said you win.

CALLOWAY: Win what?

MARTINS: I'll be your dumb decoy duck.

CALLOWAY: Do you mind if I drop off somewhere on the way? I've got an appointment, won't take five minutes...

MARTINS: Of course.

CALLOWAY: Why don't you come in, too - you're a writer... Might interest you.

CALLOWAY: Didn't I?

MARTINS: You all did.

CALLOWAY: A girl of spirit.

MARTINS: She's right. It's none of my business.

MARTINS: Calloway!

CALLOWAY: Oh, there you are. Come in here, there isn't much time.

MARTINS: It wouldn't work.

CALLOWAY: We'll never get him in the Russian zone.

MARTINS: Calloway, you expect too much. I know he deserves to hang, you proved your stuff. But twenty years is a long time - don't ask me to tie the rope.

MARTINS: I followed his shadow until suddenly...

CALLOWAY: Well?...

MARTINS: This is where he vanished.

CALLOWAY: I see.

MARTINS: I suppose you don't believe me.

CALLOWAY: No.

MARTINS: Look...I tell you, you don't think I'm blind, do you?

CALLOWAY: Yes. Where were you when you saw him first?

MARTINS: Fifty yards right down there.

CALLOWAY: Which side of the road?

MARTINS: I was on that side, the shadow was on that side, and no turnings on either side.

CALLOWAY: How about the doorway?

MARTINS: I tell you I heard him running ahead of me.

CALLOWAY: Yes, yes, yes, and then he vanished out there, I suppose with a puff of smoke and like a clap of...

CALLOWAY: ...in the morning.

MARTINS: Thank you. Excuse me.

CALLOWAY: ...be responsible for you in the streets.

MARTINS: I'm not asking you to.

CALLOWAY: ...a week ago.

MARTINS: It's more like a mortuary than police headquarters.

CALLOWAY: So would I.

MARTINS: Bring him in.

CALLOWAY: I can't. He disappeared...

CALLOWAY: Next, Paine.

MARTINS: I would like a word with this orderly Harbin.

CALLOWAY: That is the racket Harry Lime organized.

MARTINS: Calloway, you haven't shown me one shred of evidence.

CALLOWAY: Do you see what that means?

MARTINS: Are you too busy chasing a few tubes of penicillin to investigate a murder?

MARTINS: Well?

CALLOWAY: In Vienna...

MARTINS: A parrot bit me.

CALLOWAY: Oh, stop behaving like a fool, Martins.

MARTINS: I'm only a little fool - I'm an amateur at it - you're a professional. You've been shaking your cap and bells all over town.

CALLOWAY: What do you want to see a doctor for, huh?

MARTINS: A bruised lip.

CALLOWAY: Get the next plane.

MARTINS: As soon as I get to the bottom of this, I'll get the next plane.

CALLOWAY: Death is at the bottom of everything, Martins. Leave death to the professionals.

MARTINS: Do you mind if I use that line in my next Western? You can't chuck me out, my papers are in order.

CALLOWAY: Miss Schmidt.

MARTINS: You're not locking her up?

MARTINS: Tactful too, aren't we, Callaghan?

CALLOWAY: Calloway.

MARTINS: And there was a third man there. I suppose that doesn't sound peculiar to you.

CALLOWAY: I'm not interested in whether a racketeer like Lime was killed by his friends or by accident. The only important thing is that he's dead.

MARTINS: What the devil?

CALLOWAY: Getting around, Martins.

MARTINS: Oh, pinning things on girls now.

MARTINS: ...expense.

CALLOWAY: Going to find me the real criminal? It sounds like one of your stories.

MARTINS: Listen, Callaghan.

CALLOWAY: Calloway - I'm English, not Irish.

MARTINS: Why don't you catch a few murderers for a change?

CALLOWAY: Well, you could say that murder was part...

MARTINS: ...a cop. You're a real cop I suppose.

CALLOWAY: It wasn't petrol.

MARTINS: ...policemen. I have to call them sheriffs.

CALLOWAY: Ever seen one?

MARTINS: Pin it on a...

CALLOWAY: ...to him.

MARTINS: What are you trying to say?

CALLOWAY: He was...

MARTINS: Must have known I was broke. Even sent me an airplane ticket. It's a shame.

CALLOWAY: What?

MARTINS: Him dying like that.

CALLOWAY: Best thing that ever happened...

MARTINS: Did you ever hear of "The Lone Rider of Santa Fe?"

CALLOWAY: I can't say that I have.

MARTINS: "Death at the Double X Ranch" - Ra- a-nch.

CALLOWAY: No.

CALLOWAY: I'm afraid I've never heard of you. What's your name again?

MARTINS: Holly Martins.

CALLOWAY: No, sorry.

CALLOWAY: See much of him before that?

MARTINS: Once in a while.

MARTINS: Back in school. Never so lonesome in my life till he showed up.

CALLOWAY: When did you see him last?

MARTINS: September '39.

CALLOWAY: You've had a bit of a shock, haven't you? You could do with a drink.

MARTINS: Could you buy me one. I haven't got any Austrian kroners. Thanks.

CALLOWAY: Schmolka!

CALLOWAY: My name is Calloway.

MARTINS: Martins.

CALLOWAY: You a friend of Lime's?

MARTINS: Yes.

CALLOWAY: Been here long?

MARTINS: No.

MARTINS: Can you tell me whose...

CALLOWAY: Fellow called Lime.

PAINE: Shall I go over there, sir?

CALLOWAY: No, no. Leave them for a while.

CALLOWAY: ...of Santa Fe."

PAINE: I'd like to visit Texas one day, sir.

PAINE: Very good, sir.

CALLOWAY: You know, Paine's one of your devoted readers. He's promised...

CALLOWAY: Write her out a receipt, Paine. Give her a receipt for these letters too.

PAINE: This way, miss.

CALLOWAY: It's a military hotel.

PAINE: I'm so glad to have met you, sir. I've read quite a few of your books.

PAINE: Please be careful, sir. Up we come. Written anything lately?

CALLOWAY: Take him to Sacher's.

MARTINS: ...his number.

CLERK: I'll look it up for you.

MARTINS: Well, look, is there a car here I can use?

CLERK: ...excuse me.

MARTINS: Please hurry up - just get him on the telephone.

CLERK: Do you know his number?

MARTINS: No, I don't know...

MARTINS: Get me Major Callaghan on the phone.

CLERK: Oh, Mr. Martins...

MARTINS: Zane Grey.

CRABBIN: Oh, that is Mr. Martins' little joke, of course...

MARTINS: Well, yes. I suppose that is what I meant to say.

CRABBIN: Of course, of course, of course.

MARTINS: What's that?

CRABBIN: Oh, I thought you would know, you're a writer. Of course you do. Good night, old man.

CRABBIN: Hello - Mr. Martins, we tried to get you at your hotel. We have arranged that lecture for tomorrow.

MARTINS: What about?

CRABBIN: On the modern novel - you remember what we arranged and we want you to talk on the Crisis of Faith.

CRABBIN: Oh, Mr. Martins, good evening.

MARTINS: Good evening Mr. Crabbin.

CRABBIN: Seems exciting.

MARTINS: It is, and I'm gunning just the same way for your Major Callaghan.

MARTINS: ...this lecture business, you'll put me up here a while?

CRABBIN: Certainly.

MARTINS: I was going to stay with him, but he died Thursday.

CRABBIN: Goodness, that's awkward.

MARTINS: Is that what you say to people after death? "Goodness that's awkward..."

MARTINS: It was just a soldier. I was trying to punch his major in the eye.

CRABBIN: No, a major, were you really?

MARTINS: Heard of Harry Lime?

CRABBIN: I've heard of him, of course, but I didn't exactly know him.

MARTINS: Come upstairs a moment.

CRABBIN: I know a very good dentist.

MARTINS: I don't need a dentist. Somebody hit me, that's all.

MARTINS: How long can one stay here on this stage money?

CRABBIN: Listen, Mr. Martins, if you'd agree to be our guest, we'd be delighted to have you.

MARTINS: They wouldn't know me.

CRABBIN: Nonsense. Your novels are very popular here. Aren't they, Sergeant?

MARTINS: Welcome?

CRABBIN: I'll tell you what, Mr. Martins. On Wednesday night at our institute, we are having a little lecture on the contemporary novel...I thought perhaps you'd like to speak.

MARTINS: You do!

CRABBIN: Yes, Cultural re-education Section Propaganda. Very important in a place like this. We do a little show each week. Last week we did "Hamlet" and the week before we had something...

PAINE: ...leaving tomorrow, sir.

CRABBIN: Excuse me, have you got tooth...

PAINE: Very popular, sir.

CRABBIN: Very popular. Are you staying long?

PAINE: Striptease, sir.

CRABBIN: Yes, Hindu dances, thank you, Sergeant. This is the first opportunity we've had of making an American author welcome.

PAINE: Mr. Crabbin.

CRABBIN: What is it, Sergeant?

PAINE: Mr. Holly Martins, sir.

CRABBIN: Who?

PAINE: The author. Thought you might be interested.

CRABBIN: Never heard of him.

PAINE: Oh, he's very goad, sir. I've read quite a few of his books.

CRABBIN: Have you, Sergeant? Author - Martins. Thank you, Sergeant.

MARTINS: ...this way.

HARRY: What do you want?

MARTINS: Have you ever seen any of your victims?

HARRY: Do you know, I don't ever feel comfortable on these sort of things...Victims?

HARRY: Part? You can have any part you want, so long as you don't interfere...I have never cut you out of anything yet.

MARTINS: I remember when they raided the gambling joint - you know a safe way out...

HARRY: Sure...

MARTINS: You told them, didn't you?

HARRY: Don't try to be a policeman, old man.

MARTINS: What did you expect me to be - part of your...

HARRY: I'm only safe in the Russian Zone... I'm safe as long as they can use me...

MARTINS: As long as they can use you?

HARRY: I wish I could get rid of this thing.

HARRY: What do you want me to do?

MARTINS: You can get somebody else...

HARRY: Do you expect me to give myself up?

MARTINS: Why not?

HARRY: It's far better thing that I do... Holly, you and I aren't heroes, the world doesn't make any heroes...

MARTINS: You've got plenty of contacts.

HARRY: Outside of your stories...I've got to be careful.

HARRY: Well, I've got quite a lot on my mind.

MARTINS: You wouldn't do anything.

HARRY: Unwise, Holly...

MARTINS: And - Anna...

HARRY: Did the police believe you?

MARTINS: You don't care anything at all about Anna, do you?

HARRY: ...exactly who did you tell about me? Hmm?

MARTINS: I told the police.

HARRY: What can I do, old man, I'm dead, aren't I?

MARTINS: You can help her.

HARRY: Holly...

HARRY: Hmm.

MARTINS: She's been arrested.

HARRY: Tough...tough...Don't worry, old man, they won't hurt her.

MARTINS: Listen, Harry - I didn't believe that...

HARRY: It's good to see you, Holly.

MARTINS: Hello, Harry.

HARRY: Well, well, they seem to've been giving you quite some busy time.

MARTINS: Listen...

HARRY: Yes.

MARTINS: I want to talk to you.

HARRY: Talk to me?...Of course...Come on...

KURTZ: Are you mad?

MARTINS: All right - I'm mad. I've seen a ghost...

KURTZ: Mr. Popescu - Mr. Martins.

MARTINS: How do you do.

KURTZ: Mr. Popescu is here tonight.

MARTINS: The Roumanian?

KURTZ: Yes. The man who helped carry him.

MARTINS: Not yet.

KURTZ: But you will.

KURTZ: ...the best way one can, you know.

MARTINS: What's the name of this girl?

MARTINS: ...your address?

KURTZ: I live in the Russian sector, but you'll find me at the Casanova Club every night. One has to work...

MARTINS: Not necessarily. She'd probably want to help.

KURTZ: What's the good of another post mortem? Suppose you dig up something - well - discreditable to Harry?

MARTINS: Will you give me...

MARTINS: ...you.

KURTZ: Only his doctor, Dr. Winkel.

MARTINS: Well, there was only you, and this friend of his. Who is he?

KURTZ: A Roumanian.

KURTZ: ...you know and all that.

MARTINS: But he said he died instantaneously.

KURTZ: ...were of you.

MARTINS: What did he say?

KURTZ: We came out of his place like this, and were walking this way. A friend of his called to him from over there. Harry went across and from up there came the truck. It was just about here.

MARTINS: Here?

MARTINS: You really liked it?

KURTZ: At the end of every chapter --

KURTZ: It's wonderful how you keep the tension.

MARTINS: Tension? KURTZ Suspense.

KURTZ: Mr. Martins. Delighted to meet you. Come let's sit down here. Ober! Zwei. What would you like. Tea? Coffee?

MARTINS: Coffee.

KURTZ: Zwei zwartze.

WINKEL: ...he was. Yes, for a short time, while they carried him across the road.

MARTINS: In great pain?

WINKEL: Not necessarily.

MARTINS: Could he have been at all conscious?

WINKEL: I understand...

WINKEL: Find out?

MARTINS: Hear the details.

WINKEL: I can tell you very little. He was run over by a car. He was dead when I arrived.

MARTINS: Martins.

WINKEL: Coming to the point, please.

MARTINS: Thank you.

WINKEL: I have guests waiting.

MARTINS: Dr. Winkel?

WINKEL: Vinkel.

MARTINS: Vinkel...You've got quite a collection of er-collection.

WINKEL: Yes.

MARTINS: Yes, it is.

PORTER: I am not a bad man.

PORTER: I have no evidence. I saw nothing. I said nothing. It's not my business.

MARTINS: Well make it your business.

PORTER: Fer von mir aus gehen sie zur gansalt aber mich lassen sie aus mit der politzei.

MARTINS: Now, hold on.

PORTER: Das hat man davon wenn man freundlich ist mit den auslandern...

MARTINS: You gotta tell your story to the police.

PORTER: Police? Why police? Das ist alles blodsum was sie da sangen. No, no. It is all nonsense; it was an accident.

MARTINS: You don't know it was an accident. You only saw a dead man and three men carry him.

PORTER: Der ami macht mich noch ganz deppert. I should have listened to my wife. She said you were up to no good. Gossip.

MARTINS: Suppose I take...

PORTER: There was a third man - he didn't give evidence.

MARTINS: You don't mean that doctor?

PORTER: No, no. He came late after they carried him to the Joseph Statue.

MARTINS: Kurtz.

PORTER: Yes.

MARTINS: The Roumanian?

PORTER: Yes.

MARTINS: And?

PORTER: ...give evidence.

MARTINS: Who else?

MARTINS: Could he have been conscious?

PORTER: Conscious? Cas soll ich auch noch wissen?

MARTINS: Oh, er - oh...was he - was he still alive?

PORTER: Er, alive? He couldn't have been alive, not with his head in the way it was.

MARTINS: I was told that he did not die at once.

PORTER: Ah, er war gleich tot - I mean, sie war gleich tot - brauchen kein angst zu. Ein moment...Wart ein bissel...Wartein bissel. Fraulein Schmidt!

PORTER: Happened...Yes happened right down there.

MARTINS: You saw it?

PORTER: Not saw, heard...heard. I heard the brakes. Wham! And I got to the window and saw them carry the body to the other side of the er...er Joseph...that's Joseph Emperor Joseph Statue.

MARTINS: Why didn't they bring him in the house?

PORTER: Sehen sie da gleich da unter. Da unten ist est passiert. Passiert - English.

MARTINS: What's he saying?

PORTER: ...Popescu...

PORTER: und ich kann nicht alle kennen.

MARTINS: What does he say?

MARTINS: Did you know Mr. Lime well?

PORTER: Mr. Lime - yes.

MARTINS: You remember me? Upstairs...

PORTER: Yes, yes, I remember you.

MARTINS: Excuse me!

PORTER: Yes, sir.

PORTER: Baron Kurtz.

MARTINS: Must be some mistake.

MARTINS: Coffin?

PORTER: Mr. Lime's. Accident...

PORTER: Already gone.

MARTINS: Who?

MARTINS: Speak English?

PORTER: English?

POPESCU: ...Mr. Martins?

MARTINS: Never.

MARTINS: Should I make it all fact?

POPESCU: Why no, Mr. Martins.

POPESCU: ...this time.

MARTINS: Yes.

POPESCU: Mr. Martins...

MARTINS: Not when I get interested.

MARTINS: Third Man.

POPESCU: A novel, Mr. Martins?

POPESCU: No.

MARTINS: Joseph Harbin.

POPESCU: Joseph Harbin? No...no.

MARTINS: He probably knows a lot more than that. Somebody's lying.

POPESCU: Not necessarily.

POPESCU: What else did he tell you?

MARTINS: That Harry was dead before you got him to that statue.

POPESCU: Wasn't he at the police inquiry?

MARTINS: He didn't want to get involved.

POPESCU: Will we never teach these Austrians to be good citizens. It was his duty to give the evidence.

MARTINS: That's all you meant?

POPESCU: What else?

MARTINS: I thought there was something funny about the whole thing.

POPESCU: Funny?

MARTINS: Something wrong.

POPESCU: Of course there was. Some ice for Mr. Martins.

MARTINS: Harry...

POPESCU: Two double whiskeys. Was wunschen sie?

MARTINS: Oh, you did.

POPESCU: Not the sort of thing I should confess to a total stranger, but you have to break the rules sometimes. Humanity's duty.

MARTINS: Lime. Harry Lime.

U.S.M.P.: Okay.

MARTINS: I thought he'd be here to meet me.

U.S.M.P.: What's the purpose of your visit here?

MARTINS: A friend of mine offered me a job here.

U.S.M.P.: Where are you staying?

MARTINS: With him. Fifteen Stiffgasse.

U.S.M.P.: His name?

U.S.M.P.: Passport, please.

MARTINS: Oh.

Oscar Awards

Wins

CINEMATOGRAPHY (Black-and-White) - 1950 Robert Krasker

Nominations

DIRECTING - 1950 Carol Reed
FILM EDITING - 1950 Oswald Hafenrichter

Media

Trailer
75th Anniversary Collector's Edition 4K SteelBook Official Trailer
Featurette
STUDIOCANAL PRESENTS: THE PODCAST - Episode 3 | A deep dive into The Third Man
Featurette
Ernest R. Dickerson on ‘The Third Man’ and Its Influential Cinematography | TCMFF 2022