My Choice - Anton Karas: Harry Lime Theme (Third Man) - YouTube My Choice - Anton Karas: Harry Lime Theme (Third Man) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 9, 2011 The Harry Lime Theme (Engl. The Third Man Theme ) is an instrumental composition by Anton Karas for the film The Third Man and was named after the character in the movie, Harry Lime. We're showing some post war photos of Vienna. "The Harry Lime Theme" is an instrumental written and performed by Anton Karas for the soundtrack to the film The Third Man (1949). Karas was working as a zither player when director Carol Reed, during location scouting for the film, heard him playing in a beer garden. Reed wanted music that wasn't a waltz but would be appropriate to the city of Vienna, in which the film was set, so he asked Karas if he would write and record the film's score.

Karas agreed, and he wrote the theme based on a melody in a practice book. The zither had not previously been widely used in English or American music, but the theme became popular with audiences of the film soon after its premiere. The tune was originally released in the U.K. in 1949, where it was known as 'The Harry Lime Theme.' Following its release in the U.S. in 1950, "The Third Man Theme" spent eleven weeks at number one on Billboard's U.S. Best Sellers in Stores chart. Its success led to a trend in releasing film theme music as singles. According to Faber and Faber, the different versions of the theme have collectively sold an estimated forty million copies. Anton Karas was born in Vienna of Hungarian and Czech origin, one of five children of a factory worker, Anton Karas was already keen on music as a child. He desired to become a band leader, which due to the family's financial situation was impossible. However, he was allowed to learn to play an instrument, as were his two brothers and two sisters. He later reported that his first zither was one he found in his grandmother's attic, at the age of 12.

Music is copyrighted by its corresponding owners. No infringement of copyright is meant and if it does infringe, please message me and I'll remove it. ----------------------------------------------------------- The Third Man Movie Review & Film Summary (1949) | Roger Ebert Tweet Has there ever been a film where the music more perfectly suited the action than in Carol Reed 's "The Third Man"? The score was performed on a zither by Anton Karas , who was playing in a Vienna beerhouse one night when Reed heard him. The sound is jaunty but without joy, like whistling in the dark. It sets the tone; the action begins like an undergraduate lark and then reveals vicious undertones. Advertisement The story begins with a spoken prologue ("I never knew the old Vienna, before the war. . ."). The shattered postwar city has been divided into French, American, British and Russian zones, each with its own cadre of suspicious officials. Into this sinkhole of intrigue falls an American innocent: Holly Martins (Joseph Cotton), alcoholic author of pulp Westerns. He has come at the invitation of his college chum Harry Lime. But Lime is being buried when Martins arrives in Vienna. How did Lime die?

That question is the engine that drives the plot, as Martins plunges into the murk that Lime left behind. Calloway ( Trevor Howard ), the British officer in charge, bluntly says Lime was an evil man, and advises Holly to take the next train home. But Harry had a girl named Anna ( Alida Valli ), who Holly sees at Lime's grave, and perhaps she has some answers. Certainly Holly has fallen in love with her, although his trusting Yankee heart is no match for her defenses. "The Third Man" (1949) was made by men who knew the devastation of Europe at first hand. Carol Reed worked for the British Army's wartime documentary unit, and the screenplay was by Graham Greene , who not only wrote about spies but occasionally acted as one. Reed fought with David O. Selznick , his American producer, over every detail of the movie; Selznick wanted to shoot on sets, use an upbeat score and cast Noel Coward as Harry Lime. His film would have been forgotten in a week. Reed defied convention by shooting entirely on location in Vienna, where mountains of rubble stood next to gaping bomb craters, and the ruins of empire supported a desperate black market economy.

And he insisted on Karas' zither music ("The Third Man Theme" was one of 1950's biggest hits). Advertisement Reed and his Academy Award-winning cinematographer, Robert Krasker , also devised a reckless, unforgettable visual style. More shots, I suspect, are tilted than are held straight; they suggest a world out of joint. There are fantastic oblique angles. Wide-angle lenses distort faces and locations. And the bizarre lighting makes the city into an expressionist nightmare. (During a stakeout for Lime, a little balloon man wanders onto the scene, and his shadow is a monster three stories high). Vienna in "The Third Man" is a more particular and unmistakable *place* than almost any other location in the history of the movies; the action fits the city like a hand slipping on a glove. Then there are the faces: Joseph Cotton's open, naive face contrasts with the "friends" of Harry Lime: the corrupt "Baron" Kurtz (Ernst Deutsch); the shifty Dr. Winkel (Erich Ponto), the ratlike Popescu (Siegfried Breuer). Even a little boy with a rubber ball looks like a wizened imp.

The only trusting faces are those of innocents like the hall porter (Paul Hoerbiger) who tells Holly, "There was another man . . . a third man. . ." and the beefy Sgt. Paine ( Bernard Lee ), Calloway's aide, who levels the drunken Holly with a shot to the chin and then apologizes. Even the resident exiles are corrupt; Crabbin ( Wilfrid Hyde-White ), the head of the discussion group, chatters about culture while smoothly maneuvering his mistress out of sight through doors and up stairs. As for Harry Lime: He allows Orson Welles to make the most famous entrance in the history of the movies, and one of the most famous speeches. By the time Lime finally appears we have almost forgotten Welles is even *in* the movie. The sequence is unforgettable: the meow of the cat in the doorway, the big shoes, the defiant challenge by Holly, the light in the window, and then the shot, pushing in, on Lime's face, enigmatic and teasing, as if two college chums had been caught playing a naughty prank.

Advertisement The famous speech comes during an uneasy ride on a giant Ferris wheel; at one point, Lime slides open the door of the car they are riding in, and Holly uneasily wraps an arm around a post. Harry tries to justify himself: "You know what the fellow said: In Italy for 30 years under the Borgias they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland they had brotherly love--they had 500 years of democracy and peace, and what did that produce? The cuckoo clock." (Greene says this speech was written by Welles.) The emotional heart of the movie is Holly's infatuation with Anna, who will love Harry and be grateful to him no matter what she learns. The scenes between Holly and Anna are enriched by tiny details, as when they visit Harry's apartment and she opens a drawer without looking--because she already knows what will be inside. Or the way she sometimes slips and calls Holly "Harry." Everyone in the movie has trouble with names. Holly calls Calloway "Callahan," and Dr.

Winkle insists on "VINK-ell!" And the name on Harry Lime's tombstone is wrong, too. The chase sequence in "The Third Man" is another joining of the right action with the right location. Harry escapes into the sewer system like a cornered rat, and Reed edits the pursuit into long, echoing, empty sewer vistas, and closeups of Lime's sweaty face, his eyes darting for a way out. Presumably there would be no lights in the Vienna sewers, but there are strong light sources just out of sight behind every corner, throwing elongated shadows, backlighting Harry and his pursuers. Advertisement The final scene in "The Third Man" is a long, elegiac sigh. It almost did not exist. Selznick and Greene originally wanted a happy ending. (Greene originally wrote, ". . . her hand was through his arm"). Reed convinced Greene he was wrong. The movie ends as it begins, in a cemetery, and then Calloway gives Holly a ride back to town. They pass Anna walking on the roadside. Holly asks to be let out of the jeep. He stands under a tree, waiting for her.

She walks toward him, past him, and then out of frame, never looking. After a long pause, Holly lights a cigarette and wearily throws away the match. Joseph Cotten recalled later that he thought the scene would end sooner. But Reed kept the camera running, making it an unusually long shot, and absolutely perfect. "The Third Man" reflects the optimism of Americans and the bone-weariness of Europe after the war. It's a story about grownups and children: Adults like Calloway, who has seen at first hand the results of Lime's crimes, and children like the trusting Holly, who believes in the simplified good and evil of his Western novels. "The Third Man" is like the exhausted aftermath of " Casablanca ." Both have heroes who are American exiles, awash in a world of treachery and black market intrigue. Both heroes love a woman battered by the war. But "Casablanca" is bathed in the hope of victory, while "The Third Man" already reflects the Cold War years of paranoia, betrayal and the Bomb.

The hero doesn't get the girl in either movie--but in "Casablanca," Ilsa stays with the resistance leader to help in his fight, while in "The Third Man" Anna remains loyal to a rat. Yet Harry Lime saved Anna, a displaced person who faced certain death. Holly will never understand what Anna did to survive the war, and Anna has absolutely no desire to tell him. Advertisement Of all the movies I have seen, this one most completely embodies the romance of going to the movies. I saw it first on a rainy day in a tiny, smoke-filled cinema on the Left Bank in Paris. It told a story of existential loss and betrayal. It was weary and knowing, and its glorious style was an act of defiance against the corrupt world it pictured. Seeing it, I realized how many Hollywood movies were like the pulp Westerns that Holly Martins wrote: naive formulas supplying happy endings for passive consumption. I read the other day that they plan to remake "The Third Man." Do you think Anna will cave in to Holly--or will she remain true to her bitter cynicism and unspeakable knowledge?

Popular Blog Posts Theme from the Third Man Anton Karas, zither - YouTube Theme from the Third Man Anton Karas, zither Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 1, 2010 Category Film Noir » Blog Archive » The Third Man: Harry Lime Theme The Third Man: Harry Lime Theme Posted: May 4th, 2015 | Author: Elise Lee | Filed under: Uncategorized | No Comments » The music of The Third Man is dominated by the composition created by Anton Karas, the Harry Lime Theme (also known as The Third Man). The song is used extensively throughout the film, incorporating its jovial tune into scenes often incongruous with its brightness. Its accompaniment to the imagery of the film makes the opening description of Vienna’s corruption and military occupied ethnic divisions seem comical and light-hearted, and the daunting black shadow of Harry Lime seem playful, like a game of hide and seek.

Because we never actually see children in the hospital, the music diverts us from the seriousness of their deaths and rather, deceives us from actually believing they existed (apart from the teddy bear). Its satisfyingly quick tempo is reminiscent of an upbeat waltz accompanying games on a fairground. The tune is designated as Harry Lime’s theme to represent his mischievous yet whimsical past of trickery. Anna and Holly’s recollection of “Harry as a boy” exemplified his knack for deception: he was able to feign sick the day before the exam, always knew how to escape situations unscathed and undetected. His quick-witted resourcefulness is reflective in Karas’s composition—triumphant and spirited without fear or hesitation. However, the tune’s liveliness lessens towards the conclusion of the film. The manhunt for Harry Lime in the sewers hindered his confidence to scheme his way out. He acknowledged his limited options: either he succumbs to the law and is sent to prison or he figures an alternative escape plan in an almost impossible situation.

His encounter with Holly Martins relieved him of his dissonance; by opting to be murdered by Holly Martins, his long-time friend, Harry avoided being reprimanded for his multiple crimes. The tune plays briefly in this scene, indicating another one of Harry’s schemes. The final time the Harry Lime Theme is heard is after his funeral, during the iconic shot of Anna walking towards the camera, right past Holly Martins. The tune is sullen and slow, as though the music finally understood the tone of the film. Yet the present song is still the Harry Lime Theme, insinuating the lingering presence of Harry’s schemes. Despite Anna’s rejection of Holly’s attempts to save her from Harry and from her life in Vienna, Holly continues to hope for her eventual reciprocation. His decision to stay in Vienna was attributable to his desire to contribute to her wellbeing, and yet she walks right past him with neither one word nor resolution. Harry’s final scheme tricked Holly himself. Holly’s decision to kill Harry was supposed to be one of mutual benefit: Harry avoided being caught, and Holly was a hero to Calloway and the Viennese people. But because he was responsible for killing her lover, Anna had little interest in associating herself with Holly.

Holly’s existence as a hero for eradicating one of the most lucrative criminals in Vienna pushed him further from the woman he desired, thus establishing Harry’s final scheme where he not only gets away from justice, but also remains the only one in Anna’s life. Leave a Reply The Third Man, theme from the film… | Details | AllMusic The Third Man, theme from the film score ("Harry Lime Theme") Share this page Anton Karas | Download Music, Tour Dates & Video | eMusic Biography All Music Guide All Music Guide: By some reckoning, Anton Karas was the quintessential one-hit wonder, a man associated the world over with one song, and one song only, "The Third Man Theme" (also known as "The Harry Lime Theme.") Few musicians, however, ever did more to insinuate the sound of a single, relatively obscure musical instrument on the consciousness of the world -- Karas and the "Third Man Theme" did for the zither what George Harrison and a handful of Beatles tunes did for the sitar, only in a much bigger way, selling many millions of copies. That piece of music turned Karas into a wealthy man after 28 years of toiling in obscurity in relative poverty in Vienna.

Karas was born in Vienna in 1906, the son of an automobile worker. He began playing the zither -- a stringed instrument vaguely similar to an autoharp -- at age 12. By 1921, at age 15, he was earning a living of sorts entertaining patrons for tips in Vienna's taverns. Karas remained in the city throughout the tumultuous years of the rise of Nazi sympathies and the German takeover, the war, and the Allied occupation that followed. He supported a wife and three children on as little as $15 a week in those days, and then, in September of 1948 (some sources say the spring of 1949), fate took a hand. British director Carol Reed was in Vienna shooting a thriller called The Third Man, based on a story by Graham Greene. Most of the details of the final film had been worked out, but not the music -- Reed had decided that there would not be any Johann Strauss waltzes, but not what would be used for the score.

One night, he was passing by a Heuriger, a wine tavern where growers offer their own wines for sale directly, and heard Karas' playing in the background. Reed had never heard a zither before and found the sound to be attractive. He approached Karas and persuaded him to play for him at his hotel, where he made a recording and brought back to the studio to test. He liked the effect when the zither's sound was placed against the recorded dialogue and, ignoring the protests of many around him, hired Karas and brought him to London for 12 weeks. It wasn't always a harmonious time in London, as Karas, who had never traveled outside of Austria before, quickly grew homesick. Reed (in whose home Karas stayed -- with Reed's wife Penelope translating German and English between them) promised to let him return home after the score was completed. Karas screened the movie hundreds of times, devising music for each scene. The Third Man ended up with a vast amount of music, scored in virtually every scene of its 104 minutes.

Ironically, the piece that became known as the "Third Man Theme" was something that Karas had written two decades earlier and hadn't played in over 15 years. As he later explained to Reed, playing the zither for a whole night for tips was hard work, and one tended to play the easiest pieces the most often, to save the fingers. The movie put Karas' score into the foreground as much as any of the actors. The opening credits showed the strings of a zither in close-up, and the instrument was heard somewhere in virtually every scene, often as prominently as the dialogue. The "Third Man Theme" (also known as the "Harry Lime Theme") was alternately brittle, jaunty, bittersweet, romantic, wry, and even sardonic piece of music -- which fit the mood of the story and the film perfectly -- that, once heard, couldn't be forgotten. The Third Man was finished and prepared for release, and Reed and the production company, London Films, tried to raise interest in it through the music.

None of the record companies, however, was interested in recording Karas or releasing the "Third Man Theme." The music was too strange and different, and although British movies had produced some soundtrack successes in the past, those were usually more conventional light classical pieces, such as Richard Addinsell's Rachmaninov-like "Warsaw Concerto," not a jangly piece of music played on a central European folk instrument. Finally, the movie opened in late 1949 in England, and within days requests started to be heard at record stores. Word quickly filtered back up the line to the record companies, and England's Decca label (London Records in the U.S.) cut the single, and then an accompanying LP, the jacket of which used the black silhouette of the mysterious Harry Lime (the Orson Welles character associated with the theme) against a red background. The single sold a half-million copies in its first month of release, an astonishing number in postwar England, and became a number one hit in England and later in America, where the movie didn't open until 1950.

At least 13 cover versions appeared, recorded on everything from guitars to organ, and sheet music sales, transcribed for either piano or guitar, were huge as well. Karas, who'd returned to Vienna immediately after seeing the movie at its opening in London, didn't know about these events for several weeks -- he was back at his old place, playing for tips. Then the messages began coming in, from the film's production company, music publishers, and finally the Royal Family, with invited him back to London for a command performance. Bookings for performances in England followed and, with the help of the Selznick Organization, which distributed the movie in the United States, he came to America. Karas recorded a several follow-ups to "The Third Man Theme," and even wrote a "Karol Theme" in tribute to Carol Reed, but none took off in the same way. He was able to retire from performing for a living, however -- by the early '50s, he'd bought his own Heuriger, named "The Winehouse at the Sign of the Third Man" and only played and recorded for pleasure after that.

In his performances, audiences were often puzzled by the fact that he saved "The Third Man Theme" for last, preferring to play Viennese folk songs and popular standards (even "In the Mood"), and then proceeded on some occasions to finish with the hit, playing 30 minutes of variations on "The Third Man Theme." Other zither players never got it to sound just right. The truth was that as recorded for the movie, "The Third Man Theme" was one of the first practical examples of overdubbing on a hit record, rivaling Les Paul's work -- Karas had gotten just the right effect working underneath Reed's kitchen table, and had gotten the piece just right by recording and mixing more than one zither part. Karas later re-recorded the theme several times, and it was also covered by instrumental acts such as the Shadows. Meanwhile, he'd started a zither craze -- not only did he get to cut several albums during the early '50s, but suddenly there was serious international demand for zither music. One musician, Ruth Welcome, recorded at least a half-dozen LPs of the instrument in the United States. And even Edward D.

Wood, Jr., the renowned bargain basement auteur, was inspired by Karas' theme. He wanted to use a zither as the source of background music for his 1954 crime-drama Jail Bait, but zither virtuosi were hard to come by in Hollywood, especially in Wood's non-existent price-range, so he tracked in classical guitar music to the finished film instead. The "Third Man Theme" was later used on a radio series spun out of the movie's success, with Orson Welles reprising his role of Harry Lime in a somewhat more benign guise, and a television series called The Third Man, starring Michael Rennie as an international adventurer named Harry Lime and Jonathan Harris (Lost In Space) as his nervous assistant, and re-using Karas' theme again, the show ran for two seasons in the late '50s, and was in reruns for years in the '60s.

The theme continued to turn up on albums, covered by instrumental rock acts, well into the '80s, while the reruns of the movie keep adding to the ranks of listeners familiar with the zither -- a 1999 nationwide theatrical reissue of a restored edition of the movie will undoubtedly continue the process. Anton Karas on Apple Music To preview a song, mouse over the title and click Play. Open iTunes to buy and download music. Biography By some reckoning, Anton Karas was the quintessential one-hit wonder, a man associated the world over with one song, and one song only, "The Third Man Theme" (also known as "The Harry Lime Theme.") Few musicians, however, ever did more to insinuate the sound of a single, relatively obscure musical instrument on the consciousness of the world -- Karas and the "Third Man Theme" did for the zither what George Harrison and a handful of Beatles tunes did for the sitar, only in a much bigger way, selling many millions of copies. That piece of music turned Karas into a wealthy man after 28 years of toiling in obscurity in relative poverty in Vienna.

Karas was born in Vienna in 1906, the son of an automobile worker. He began playing the zither -- a stringed instrument vaguely similar to an autoharp -- at age 12. By 1921, at age 15, he was earning a living of sorts entertaining patrons for tips in Vienna's taverns. Karas remained in the city throughout the tumultuous years of the rise of Nazi sympathies and the German takeover, the war, and the Allied occupation that followed. He supported a wife and three children on as little as $15 a week in those days, and then, in September of 1948 (some sources say the spring of 1949), fate took a hand. British director Carol Reed was in Vienna shooting a thriller called The Third Man, based on a story by Graham Greene. Most of the details of the final film had been worked out, but not the music -- Reed had decided that there would not be any Johann Strauss waltzes, but not what would be used for the score.

One night, he was passing by a Heuriger, a wine tavern where growers offer their own wines for sale directly, and heard Karas' playing in the background. Reed had never heard a zither before and found the sound to be attractive. He approached Karas and persuaded him to play for him at his hotel, where he made a recording and brought back to the studio to test. He liked the effect when the zither's sound was placed against the recorded dialogue and, ignoring the protests of many around him, hired Karas and brought him to London for 12 weeks. It wasn't always a harmonious time in London, as Karas, who had never traveled outside of Austria before, quickly grew homesick. Reed (in whose home Karas stayed -- with Reed's wife Penelope translating German and English between them) promised to let him return home after the score was completed. Karas screened the movie hundreds of times, devising music for each scene. The Third Man ended up with a vast amount of music, scored in virtually every scene of its 104 minutes.

Ironically, the piece that became known as the "Third Man Theme" was something that Karas had written two decades earlier and hadn't played in over 15 years. As he later explained to Reed, playing the zither for a whole night for tips was hard work, and one tended to play the easiest pieces the most often, to save the fingers. The movie put Karas' score into the foreground as much as any of the actors. The opening credits showed the strings of a zither in close-up, and the instrument was heard somewhere in virtually every scene, often as prominently as the dialogue. The "Third Man Theme" (also known as the "Harry Lime Theme") was alternately brittle, jaunty, bittersweet, romantic, wry, and even sardonic piece of music -- which fit the mood of the story and the film perfectly -- that, once heard, couldn't be forgotten. The Third Man was finished and prepared for release, and Reed and the production company, London Films, tried to raise interest in it through the music.

None of the record companies, however, was interested in recording Karas or releasing the "Third Man Theme." The music was too strange and different, and although British movies had produced some soundtrack successes in the past, those were usually more conventional light classical pieces, such as Richard Addinsell's Rachmaninov-like "Warsaw Concerto," not a jangly piece of music played on a central European folk instrument. Finally, the movie opened in late 1949 in England, and within days requests started to be heard at record stores. Word quickly filtered back up the line to the record companies, and England's Decca label (London Records in the U.S.) cut the single, and then an accompanying LP, the jacket of which used the black silhouette of the mysterious Harry Lime (the Orson Welles character associated with the theme) against a red background. The single sold a half-million copies in its first month of release, an astonishing number in postwar England, and became a number one hit in England and later in America, where the movie didn't open until 1950.

At least 13 cover versions appeared, recorded on everything from guitars to organ, and sheet music sales, transcribed for either piano or guitar, were huge as well. Karas, who'd returned to Vienna immediately after seeing the movie at its opening in London, didn't know about these events for several weeks -- he was back at his old place, playing for tips. Then the messages began coming in, from the film's production company, music publishers, and finally the Royal Family, with invited him back to London for a command performance. Bookings for performances in England followed and, with the help of the Selznick Organization, which distributed the movie in the United States, he came to America. Karas recorded a several follow-ups to "The Third Man Theme," and even wrote a "Karol Theme" in tribute to Carol Reed, but none took off in the same way. He was able to retire from performing for a living, however -- by the early '50s, he'd bought his own Heuriger, named "The Winehouse at the Sign of the Third Man" and only played and recorded for pleasure after that.

In his performances, audiences were often puzzled by the fact that he saved "The Third Man Theme" for last, preferring to play Viennese folk songs and popular standards (even "In the Mood"), and then proceeded on some occasions to finish with the hit, playing 30 minutes of variations on "The Third Man Theme." Other zither players never got it to sound just right. The truth was that as recorded for the movie, "The Third Man Theme" was one of the first practical examples of overdubbing on a hit record, rivaling Les Paul's work -- Karas had gotten just the right effect working underneath Reed's kitchen table, and had gotten the piece just right by recording and mixing more than one zither part. Karas later re-recorded the theme several times, and it was also covered by instrumental acts such as the Shadows. Meanwhile, he'd started a zither craze -- not only did he get to cut several albums during the early '50s, but suddenly there was serious international demand for zither music. One musician, Ruth Welcome, recorded at least a half-dozen LPs of the instrument in the United States. And even Edward D.

Wood, Jr., the renowned bargain basement auteur, was inspired by Karas' theme. He wanted to use a zither as the source of background music for his 1954 crime-drama Jail Bait, but zither virtuosi were hard to come by in Hollywood, especially in Wood's non-existent price-range, so he tracked in classical guitar music to the finished film instead. The "Third Man Theme" was later used on a radio series spun out of the movie's success, with Orson Welles reprising his role of Harry Lime in a somewhat more benign guise, and a television series called The Third Man, starring Michael Rennie as an international adventurer named Harry Lime and Jonathan Harris (Lost In Space) as his nervous assistant, and re-using Karas' theme again, the show ran for two seasons in the late '50s, and was in reruns for years in the '60s.

The theme continued to turn up on albums, covered by instrumental rock acts, well into the '80s, while the reruns of the movie keep adding to the ranks of listeners familiar with the zither -- a 1999 nationwide theatrical reissue of a restored edition of the movie will undoubtedly continue the process. ~ Bruce Eder Top Albums THIRD MAN MUSEUM :: the collection OPEN EVERY SATURDAY 2 - 6 PM More dates see > Opening hours THIRD MAN MUSEUM | COLLECTION STRASSGSCHWANDTNER OPEN EVERY SATURDAY 2 -6 PM | EXCLUSIVE GUIDED TOURS AVAILABLE ANY DAY UPON REQUEST Pressgasse 25, 1040 Vienna, Austria, Tel. +43-1-5864872 contact@3mpc.net , The THIRD MAN MUSEUM is THE place to go for film fans and all those interested in the post-war history of Vienna. Private museum without sponsors and without subsidies, but a 100% passion ! The Third Man”, a British-American production filmed in post-war Vienna, opened in London in 1949 and became a huge box-office success all over the (Western) world.

It made the simple musician Anton Karas a world star. Our collection shows items from premieres as well as from numerous rereleases from more than 20 different countries: Great Britain, the United States, Argentina, Australia, Austria, Denmark, France, Germany, Japan, Sweden, Spain, Mexico, New Zealand... In 13 rooms 2300 original exhibits and documents are on display: 420 cover versions of the "Harry Lime Theme", the zither used by Anton Karas to record the film music, original scripts, cameras used on location in Vienna, a short screening with a projector from the time, the cap of Little Hansel and much more... The THIRD MAN MUSEUM is the project of two enthusiasts: Gerhard Strassgschwandtner and Karin Höfler. Specialists and generalists, they have created the museum themselves from scratch. A completely rounded piece of work, with no outsourcing, the Third Man Museum contains much heart and soul. And you can feel it! To enable you to “take home” our collection, two catalogues are available in the museum shop: The museum catalogue and the catalogue on post-war Vienna. Click > here for more information.

OPENING HOURS: EVERY SATURDAY 2 - 6 PM Visit without guided tour. Admission: Adults Euro 8.90 Concessions: Euro 6.90 (students, senior citizens etc.) NO RESERVATION NECESSARY. Just come! ADDITIONAL DATES: GUIDED TOURS FOR INDIVIDUAL VISITORS >> see opening hours FOR GROUPS AND “REAL” FILM BUFFS: EXCLUSIVE GUIDED TOURS For group reservations and visits on other days than the above regular hours please contact us to make an appointment - possible any day of the week at any time! Costs incl. fascinating guided tour (duration approx. one and a half hours): 1-12 persons: Euro 120.- (flat rate) 13 personen or more: Euro 10.- per person The museum opens exclusively for you and your group! Please contact us: Tel.

+43-1-5864872 or e-mail contact@3mpc.net >> more information >> All about the film classic ‘The Third Man’ and Vienna after World War II The Third Man (1949) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error From $2.99 (SD) on Amazon Video ON DISC Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime.

Director: a list of 47 titles created 29 Nov 2011 a list of 34 titles created 28 Dec 2012 a list of 25 titles created 19 Aug 2014 a list of 22 titles created 24 Feb 2015 a list of 25 titles created 3 months ago Title: The Third Man (1949) 8.3/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 4 wins & 4 nominations. See more awards » Videos A stark, perverse story of murder, kidnapping, and police corruption in a Mexican border town. Director: Orson Welles A hack screenwriter writes a screenplay for a former silent-film star who has faded into Hollywood obscurity. Director: Billy Wilder An insurance representative lets himself be talked into a murder/insurance fraud scheme that arouses an insurance investigator's suspicions.

Director: Billy Wilder A private detective takes on a case that involves him with three eccentric criminals, a gorgeous liar, and their quest for a priceless statuette. Director: John Huston Fred Dobbs and Bob Curtin, two Americans searching for work in Mexico, convince an old prospector to help them mine for gold in the Sierra Madre Mountains. Director: John Huston Following the death of a publishing tycoon, news reporters scramble to discover the meaning of his final utterance. Director: Orson Welles When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt. Director: Fritz Lang A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue. Director: Billy Wilder When two male musicians witness a mob hit, they flee the state in an all-female band disguised as women, but further complications set in. Director: Billy Wilder A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive.

Director: Alfred Hitchcock A veteran British barrister must defend his client in a murder trial that has surprise after surprise. Director: Billy Wilder A self-conscious bride is tormented by the memory of her husband's dead first wife. Director: Alfred Hitchcock Edit Storyline An out of work pulp fiction novelist, Holly Martins, arrives in a post war Vienna divided into sectors by the victorious allies, and where a shortage of supplies has lead to a flourishing black market. He arrives at the invitation of an ex-school friend, Harry Lime, who has offered him a job, only to discover that Lime has recently died in a peculiar traffic accident. From talking to Lime's friends and associates Martins soon notices that some of the stories are inconsistent, and determines to discover what really happened to Harry Lime. Written by Mark Thompson <mrt@oasis.icl.co.uk> Carol Reed's Classic Thriller See more » Genres: 31 August 1949 (UK) See more » Also Known As: The 3rd Man See more » Filming Locations: $13,576 (USA) (7 May 1999) Gross: Graham Greene 's only original screenplay.

See more » Goofs In the sewer, before putting his fingers through the grate, Harry Lime holds the stair's supporting pole with his right hand, but the gun should be in his hand, as displayed before and after this shot. See more » Quotes Opening credits prologue: V I E N N A See more » Connections That Terrific B&W Cinematography 20 June 2009 | by Lechuguilla (Dallas, Texas) – See all my reviews In a bombed-out Vienna just after WWII, novelist Holly Martins (Joseph Cotten) arrives from America to renew a friendship with his childhood buddy, Harry Lime (Orson Welles). Much to the dismay of Holly, a freak auto accident has recently killed his friend, according to those who knew Harry. But in searching for details of Lime's death, Holly gets contradictory stories that don't add up. One of the persons who knew Lime is an attractive woman named Anna Schmidt (Alida Valli) whose continued presence in the story invites suspicion. The film's plot has Holly searching for the truth about his friend, while trying to stave off a city detective, Major Calloway (Trevor Howard) who tries to persuade Holly to leave Vienna.

The film's story is okay. But what makes "The Third Man" really interesting is the B&W cinematography, by Robert Krasker. Unlike most films, camera movement here is restricted, so as to draw attention to each frame's geometry. Typically in this film, a frame is tilted at an angle so that both vertical and horizontal points of reference are off-kilter. Frame images thus become a series of diagonal straight lines and curves. Further, very high-contrast lighting, especially in outdoor scenes at night, creates a bizarre, almost nightmarish look and feel, and are suggestive of German Expressionism. All of which results in a visual disorientation for viewers that parallels Holly's disorientation both in the streets of Vienna and in his understanding of the circumstances surrounding Lime's absence. In most outdoor scenes there's a conspicuous lack of crowds, a lack of hubbub one would expect in a bustling city. Instead, only a few secondary characters appear in night scenes. This sparseness in characters on the streets conveys the impression that hidden eyes are watching Holly, ready to pounce at any moment from out of dark shadows.

"Everybody ought to (be) careful in a city like this", says one character to Holly, as an implied threat. Soon, a man who wants to give Holly some valuable information is murdered. The script's dialogue is quite impressive, with some interesting lines and points of view. Some of the dialogue is in German, which enhances authenticity. The film's acting and editing are very, very good. Adding a slightly romantic, and at times melancholy, tone to this dark film is the music of the "zither", an instrument similar to a guitar, but sounding quite different. My one complaint about this film is that it's hard to keep tabs on some of the background characters. Trying to connect names with faces can be difficult, resulting in some confusion. "The Third Man" tells an interestingly bleak story, set in a bleak, desolate urban environment, rendered truly mesmerizing by the creatively surreal B&W cinematography. 27 of 49 people found this review helpful. Was this review helpful to you?

Yes The Third Man (TV Series 1959–1965) - IMDb IMDb 18 January 2017 5:37 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Harry Lime makes money dealing art and solves crime to save his life. Stars: Harry goes to Ceylon to determine the provenance of a fabulous necklace that is 1250 years old and meets with unsavory characters who attempt to discourage him from purchasing additional pieces. 9.5 When the body of Italian partisan who was last seen with Harry Lime during World War II is discovered at the end of a glacier, Harry returns to the Alps to face retribution from the agent's former ... 9.4 In New York City, Mr. Clark of James Clark Home Enterprises, hires Harry Lime to deliver a $5 million dollar check - at a castle located in Soain, in exchange for 10% - $50,000. When Harry arrives in...

7.0 a list of 106 titles created 13 May 2012 a list of 44 titles created 09 Jul 2013 a list of 171 titles created 19 Aug 2013 a list of 100 titles created 1 month ago a list of 27 titles created 6 days ago Title: The Third Man (1959–1965) 8.4/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Add Image Add an image Do you have any images for this title? 29 January 1959 (USA) See more » Also Known As: Did You Know? Trivia James Mason had been considered for the part of Harry Lime, but Michael Rennie ended up in the role. See more » Connections (N Syracuse NY) – See all my reviews Harry Lime in the 1949 movie is a charming, totally amoral character.

In the 1951 radio series, (an episode of which can be heard on the Criterion Collection DVD of the film), which also starred Orson Welles, he is a charming adventurer of dubious reputation who is not as ammoral as people think he is. In the TV show, as played by Michael Rennie, he's a rather conservative businessman whose reputation seems to have been a case of mistaken identity. I would love to have seen Welles essay the role in the TV show. It would have made all the difference. But of course, he didn't do TV series. One wonders who might have been more interesting than Rennie who was doing TV at that time. The name, (and face) that pops into my mind is Ross Martin but perhaps he was not a big enough star yet. At least Jonathan Harris provides some liveliness as Lime's persnickety assistant, although one can hardly imagine Welles' Lime finding a use for such a character. Also, in a half hour show his intrusions often detract from the story too much.

I will say that I like the way the show was filmed, with some good camera angles, clever editing and, of course, Anton Karras' musical theme, which never seems to stop playing. It's still not a patch on the movie but what TV series is? 22 of 27 people found this review helpful. Was this review helpful to you? Yes

Question: The Harry Lime theme was used in which film?
Answer: The Third Man