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May 22 2011

02mydafsoup-01

The Third Man (1949) directed by Carol Reed - Film noire - Music: Anton Karas


The third man (1949) directed by carol reed - film noire - music: anton karas | offene ablage: nothing to hide 2011-05-22 | oanth-miscellaneous | scoop.it
   
by oAnth:


- The film (British release without subtitles) is now completely available at Youtube - to see with all necessary links on oAnth / soup.io by clicking the entry title line ....
- .... together with 2 original recordings (1949/50) also via Youtube with zither player & composer Anton Karas playing his famous "Harry Lime Theme"


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From Wikipedia-Entry
https://secure.wikimedia.org/wikipedia/en/wiki/The_Third_Man

[...]

Style

The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and distorted camera angles, is a key feature of The Third Man. Combined with the unique theme music, seedy locations, and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical post-war Vienna at the start of the Cold War. The film's unusual camera angles, however, were not appreciated by all critics at the time. C. A. Lejeune in The Observer described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler, a close friend of Reed's, sent him a spirit level, with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you?"[1]

Through the years there was occasional speculation that Welles, rather than Reed, was the de facto director of The Third Man. Film scholar Jonathan Rosenbaum, in his 2007 book, Discovering Orson Welles, calls it a "popular misconception",[2] although Rosenbaum did note that the film "began to echo the Wellesian theme of betrayed male friendship and certain related ideas from Citizen Kane."[3] In the final analysis, Rosenbaum writes, Welles "didn’t direct anything in the picture; the basics of his shooting and editing style, its music and meaning, are plainly absent. Yet old myths die hard, and some viewers persist in believing otherwise."[3] Welles himself fueled this theory with an interview he gave in 1958, in which he said that he had had an important role in making The Third Man, but that it was a “delicate matter, because [he] wasn’t the producer”.[4] However, he later admitted in a 1967 interview with Peter Bogdanovich that his involvement was minimal: "It was Carol's picture", he said.[5] However, Welles did contribute some of the film’s best-known dialogue. Bogdanovich also stated in the introduction to the DVD:

However, I think it’s important to note that the look of The Third Man—and, in fact, the whole film—would be unthinkable without Citizen Kane, The Stranger, and The Lady from Shanghai, all of which Orson made in the ’40s, and all of which preceded The Third Man. Carol Reed, I think, was definitely influenced by Orson Welles, the director, from the films he had made.[6]

Differences between releases

As the original British release begins, the voice of director Carol Reed, unnamed, is heard describing post-war Vienna from the point of view of a racketeer. The version shown in American theatres replaced this with narration by Joseph Cotten as Holly Martins. This change was instituted by David O. Selznick, who did not think American audiences would relate to the seedy tone of the original.[7] In addition, eleven minutes of footage were cut.[8] Today, Reed's original version appears on American DVDs, in showings on Turner Classic Movies, and in U.S. theatrical releases, with the eleven minutes of footage restored. Both the Criterion Collection and Studio Canal DVD releases include a comparison of the two opening monologues.

[...]

Reception

In Austria, "local critics were underwhelmed"[14] and the film ran for only a few weeks; William Cook, after his 2006 visit to an eight-room museum in Vienna dedicated to the film, wrote "In Britain it's a thriller about friendship and betrayal. In Vienna it's a tragedy about Austria's troubled relationship with its past."[14]

Upon its release in Britain and America, the film received overwhelmingly positive reviews.[15] Time magazine called the film "crammed with cinematic plums that would do the early Hitchcock proud—ingenious twists and turns of plot, subtle detail, full-bodied bit characters, atmospheric backgrounds that become an intrinsic part of the story, a deft commingling of the sinister with the ludicrous, the casual with the bizarre." ....

[...]

Music

The musical score was composed by Anton Karas and played by him on the zither. Before the production came to Vienna, Karas was an unknown wine bar performer. According to a November 1949 Time magazine article:[20]

The picture demanded music appropriate to post-World War II Vienna, but director Reed had made up his mind to avoid schmalzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, [and] was fascinated by the jangling melancholy of his music.

Reed later brought Karas to London, where the musician spent six weeks working with Reed on the score.[20] Decades later, film critic Roger Ebert wrote, "Has there ever been a film where the music more perfectly suited the action than in Carol Reed's The Third Man?"

[...]


CAST:

* Joseph Cotten as Holly Martins
* Alida Valli as Anna Schmidt
* Orson Welles as Harry Lime
* Trevor Howard as Major Calloway
* Bernard Lee as Sgt. Paine
* Wilfrid Hyde-White as Crabbin
* Erich Ponto as Dr. Winkel
* Ernst Deutsch as 'Baron' Kurtz
* Siegfried Breuer as Popescu
* Paul Hörbiger as Karl, Harry's Porter
* Hedwig Bleibtreu as Anna's Landlady
* Robert Brown as British Military Policeman in Sewer Chase
* Alexis Chesnakov as Brodsky
* Herbert Halbik as Hansl
* Paul Hardtmuth as the Hall Porter at Sacher's
* Geoffrey Keen as British Military Policeman
* Eric Pohlmann as Waiter at Smolka's
* Annie Rosar as the Porter's Wife
* Joseph Cotten as the Narrator (pre-1999 US version)
* Carol Reed as the Narrator (pre-1999 UK, and all post-'99 versions)

[...]


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All entries to "The Third Man" on soup.io are bundled via
http://02mydafsoup-01.soup.io/tag/3Mann_110516

May 16 2011

02mydafsoup-01
Theme from the Third Man Anton Karas (Wien, 1906-1985), zither - 1950


Youtube permalink
yt-user:
bayareabert


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Fotograph from Wikipedia entry EN / DE


Datei:Anton karas (1906-1985).jpg

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  1. Wiener Rathauskorrespondenz vom 8. Jänner 2010
  2. Gedenktafel für Anton Karas in der Brigittenau Rathauskorrespondenz vom 4. Juli 2006 (Abgerufen am 14. Juni 2010)

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Film and music for "The Third Man" (1949) on soup.io are bundled by tags!




Reposted bySigalon02 Sigalon02
02mydafsoup-01


The Third Man - Classic Film Noir available to watch in full on (YouTube - no more available, account closed due to copyright infringement) e.g. dailymotion

Carol Reed’s Classic Film Noir Thriller. An American pulp writer arrives in post-WWII Vienna only to find that the friend who waited for him is killed under mysterious circumstances. The ensuing mystery entangles him in his friend’s involvement in the black market, with the multinational police, and with his Czech girlfriend.

From openculture:

Graham Greene wrote the screenplay; Orson Welles played a starring role; and Carol Reed, an Oscar-winning filmmaker, sat in the director’s chair. A recipe for a classic noir film, to be sure. And the movie didn’t disappoint.

The Third Man won the Grand Prix at the 1949 Cannes Film Festival and an Academy Award for Best Black and White Cinematography in 1950. A half century later, The Third Man proved that it stands the test of time when the British Film Institute named it the best British film of the 20th century. Quite a statement.


The Third Man, 1949 - Wikipedia entry in EN / DE

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Film and music for "The Third Man" (1949) on soup.io are bundled by tags!

Reposted fromStellaVista StellaVista
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