The Definitive The Lives of Harry Lime Radio Log with Orson Welles, Anton Karas, Graham Greene and Harry Alan Towers Home >> D D Too Home >> Radio Logs >> The Lives of Harry Lime Lives of Harry Lime mp3 cover art Carol Reed and Orson Welles confer on location in Vienna over a key scene from Reed's The Third Man from 1949 (the photo credit says April 1950 which would be impossible since it premiered during Sept. 1949). Carol Reed's 1949 project, The Third Man: was adapted from a Graham Greene story of the same name spun off a wildly successful sound-track (it went 'Gold' in 3 months) spun off a Film sequel starring Joseph Cotten spun off a successful Radio program starring Orson Welles spun off a successful 5-season Television program starring Michael Rennie as Harry Lime.

Key Laundry Soap's The Lives of Harry Lime Spot Ad from Sep 22 1952 The Lives of Harry Lime first aired complete over 'pirate' Radio station Radio Luxembourg circa 1950 Mutual Broadcasting System aired twenty-six of The Lives of Harry Lime Canada's CBC aired all fifty-two installments of The Lives of Harry Lime over two overlapping seasons The classic Third Man 'reveal' shot from the 1949 Film Orson Welles in a deservedly avuncular mood following the runaway success of The Third Man 1950 Background: Golden Age Radio's First 'Pre-quel' Graham Greene's The Third Man was a fascinating study of post-World War II Vienna. Tracing the wake of the ebbs and flows of intrigue that coursed through the great city for well into The Cold War Years made for a very compelling yarn, though perhaps not Vienna's finest public relations moment. Alexander Korda optioned The Third Man for his studios and the project got the green light from David O. Selznick in 1948, at about the time that Orson Welles was enjoying one of several self-imposed exiles in Great Britain.

Released in September 1949, the film achieved both critical and popular acclaim, in spite of Orson Welles reputation as 'box-office poison' at that point in his career. Welles was already working on two other projects with British programming entrepreneur Harry Alan Towers, and the extraordinary success of The Third Man, The Third Man Theme and talk of a film sequel seemed to all point in the direction of a promising Radio version of The Third Man. But where to begin? The character Harry Lime was killed off in The Third Man. Orson Welles' brilliant solution was to create an entire series of 'pre-quels' to The Third Man, all inevitably, inexorably leading up to Lime's ultimate fate in the sewers of Vienna. The film had already hinted at the apparent nine lives of the Harry Lime character, so it wasn't much of a stretch to extend that store of lives to fifty-one. But how to make Harry Lime attractive enough to sustain 52 installments . . . Let's face it, Harry Lime was a slimeball. So in yet another inspired notion, Welles decided to go with Lime's disreputable character and play to it. Harry Lime becomes one of Radio's first successful anti-heroes.

This was by no means a new direction for Welles himself. He loved writing for, directing and performing as an anti-hero. And had often done so already. But those were more subtle, more intellectual antiheroes. This would be a modern day antihero. A man with apparently no discernable socially or morally redeeming values whatsoever, no compunctions about lying, stealing, cheating or even murder, and yet a character capable of sustaining fifty-two compelling accounts of the adventures leading up to his ultimate demise. Will the Real Harry Lime Please Stand Up . . . . The background of The Lives of Harry Lime is completely interwoven with the period of Orson Welles' self-imposed exile in Great Britain, his desperate efforts to raise cash while in Europe, and the extraordinary evolution of The Third Man film itself. Indeed it's often quite difficult to separate Orson Welles from the Harry Lime character over the course of some three years that they were associated with each other. Orson Welles had indeed become all but a scoundrel himself during the four years leading up to his extended stay in Great Britain and Europe.

Even his most ardent, loyal fans and friends were left second-guessing as to what was happening to Stage, Radio and Film's boy genius. He'd had it all and lost it all, then repeated the cycle all over again. Each period of reckless abandon left even more personal and financial damage in its wake. Orson Welles, like the fabled cat with nine lives was becoming an awkward, real-life parody of the Harry Lime character he'd soon portray for three years in Film and Radio. Welles' personal and financial dilemmas didn't escape the attention of Harry Alan Towers who likened himself as a self-styled "Orson Welles of Europe." While there's clearly no geniune point of comparison between the two, Orson Welles' untimely poor fortunes made him a ready target for Towers.

Playing to both Welles' financial misfortunes as much as to Welles' need to innovate, Towers struck a devil's bargain with Welles to do three syndicated features for Towers of London: The Black Museum, The Lives of Harry Lime and a Sherlock Holmes production starring John Gielgud as Holmes and Ralph Richardson as Watson (Welles would direct, write, and perform in various roles, as well as in the recurring 'plum' role of Professor Moriarty.) The Black Museum became a somewhat darker version of Towers' own Secrets of Scotland Yard which was still airing in many parts of the world even as The Black Museum was first broadcast. The Gielgud and Richardson send up of Sherlock Holmes was a natural point of interest for Welles and was clearly a project he could sink his teeth into. But it was The Lives of Harry Lime that seems to have captured most of Welles' energy and time for well over three years in one form or another. Welles hadn't been David O. Selznick or Alexander Korda's first pick to portray Harry Lime. Selznick had wanted Cary Grant. It was the film's director, Carol Reed, that pressed for Orson Welles.

Welles was ultimately offered a percentage of the profits from The Third Man, in lieu of a salary, but given Welles' dire financial straits at the time, he took the short money instead. Virtually parodying his own deteriorating reputation at the time, Welles proved both elusive and obstinate on location, often disappearing for a week at a time while filming in Europe, and steadfastly refusing all location work involving sewers. He variously claimed to have written all of Harry Lime's dialogue, while at other times attributing the dialogue to Grahame Greene's brilliant screenplay. Quixotic and unpredictable, Welles' growing notoriety wasn't particularly well served by his continued shenanigans during The Third Man. Ironically, by the time that The Lives of Harry Lime was being recorded in London's IBC Studios, Orson Welles seems to have felt far more comfortable with the character. The ironic titles, dialogue and twisty plots all bore the Welles genius and sparkle that his staunchest defenders continued to praise, despite Welles' roller-coaster career. Indeed, one very much senses in most of the Harry Lime installments that Welles revels in the very scoundrel-like nature of his protagonist.

The blurring of Orson Welles' real personality with his temporary alter-ego, Harry Lime, was not only a somewhat romantic notion but as much life imitating art in some respects. As a practical, historical fact, Orson Welles often simply ran away from obligations, commitments and 'the business of Hollywood' perhaps simply to reassert his own boyish wanderlust. Those assessments remain for others to make. But the similarities between the character, Harry Lime, and the artist, Orson Welles, remain as intriguing as they are informative. The Lives of Harry Lime: The Man You Hate to Love Granted, Harry Lime is a scoundrel of the most predictably ruthless stripe. And yet, he's one of those shameless curs that you simply can't stop learning more about. It's the perverse quality of the manner in which Welles frames his protagonist that makes any sympathy directed toward Lime and his fifty-two criminal adventures completely illogical. The other obvious irony here is that it's the Harry Lime character that captured the focus of virtually everyone's attention in the Film version of The Third Man. And again, that's utterly counter-intuitive. By all human logic it's Joseph Cotten and his Holly Martins character that merits our sympathy.

But instead of rooting for Martins and his quest to find his friend, it's Harry Lime that most viewers can't stop obsessing about. This point was clearly not lost on Orson Welles. The anti-hero has been the elusive holy grail of sorts for many famous writers, dating as far back as the Greek Classics. Indeed the definition of what constitutes an anti-hero is equally elusive. At what point does an inveterate scoundrel become an anti-hero? Is it a question of continued exposure and character development? Or simply a subjective matter of individual taste. Having repeatedly listened to all of the available examples of The Lives of Harry Lime we're still hard pressed to actually like or admire Harry Lime. And yet one can't help but marvel at his apparent utter absence of any moral compass. He's an self-admitted, unrepentant scoundrel, but as in the oft-repeated example of a train-wreck, despite the inevitable outcome one simply can't pry one's eyes off of it. In retrospect, one is hard pressed to imagine anyone but Orson Welles that could have pulled this off. Perhaps it's simply the occasional parallels between Welles' own personal history and that of his Harry Lime character.

The comparisons between Welles' own life-long wanderlust and that of his protagonist are inescapable. As are the resilience and indomitable personality of both Welles and the Harry Lime character. In the final analysis it's precisely Welles' disdain for what one might think of either Harry Lime or Welles himself that answers any of the rhetorical questions posed above. Harry Lime, whatever his personal shortcomings, is a compelling character. As was Welles. Indeed they both continue to be just as fascinating in death as in life. That's a direct reflection on both Welles' genius and Welles' force of personality. Both Welles and his fictional anti-hero(es) lived their lives for themselves and their own selfish personal interests. The extent to which their lives benefited others' was simply serendipity. And indeed Welles contributions to virtually all of his endeavors stand on their own merit. Welles' legendary personal philanthropy and largesse famously waxed and waned with his own personal fortunes. But in the final analysis he was as unrepentant as many of the brilliant arch-scoundrels he apparently loved to portray. It's a given that every living soul, irrespective of their spirituality, knows that a day of reckoning is inevitable.

To the degree to which they've lived an unrepentant life they'll either accept or reject their ultimate moment of reckoning. Given that admittedly narrow point of comparison, it's safe to say that Harry Lime would almost certainly have accepted his day of reckoning as willingly as one expects that Orson Welles must have. The Lives of Harry Lime remains a compelling series of yarns that, like popcorn, draws you back for more and more, one kernel--or episode--at a time. The Third Man (1949) Pages: ( 1 ) ( 2 ) ( 3 ) Background The Third Man (1949) is a visually-stylish thriller - a paranoid story of social, economic, and moral corruption in a depressed, rotting and crumbling, 20th century Vienna following World War II. The striking film-noirish, shadowy thriller was filmed expressionistically within the decadent, shattered and poisoned city that has been sector-divided along geo-political lines. The black and white, pessimistic film is one of the greatest British thrillers of the post-war era, in the best Alfred Hitchcock tradition, and beautifully produced and directed by Britisher Carol Reed.

It was voted the #1 British Film of the 20th Century by the esteemed British Film Institute (BFI). It was co-produced by Hungarian-born Alexander Korda and American movie mogul David O. Selznick. Because Korda gave American distribution rights to Selznick (who cut eleven minutes from the original British version), the credits of the US version include Selznick references. This was Reed's second collaboration with British screenwriter-author Graham Greene (after The Fallen Idol (1948)). It was based on Greene's novella of the same name, written solely to be a source text for the film screenplay and never intended to be read or published. It was a clever and original mystery tale simply evoked by one sentence written by Greene: "I saw a man walking down the Strand, whose funeral I had only recently attended." It told of a love triangle with nightmarish suspense, treachery, betrayal, guilt and disillusionment. Its two most famous sequences include the Ferris-wheel showdown high atop a deserted fairground with the famous cuckoo clock speech (written by Orson Welles), and the climactic chase through the underground network of sewers beneath the cobblestone streets.

In defiance of US producer Selznick, Reed boldly refused to cast Noel Coward in the Harry Lime role (played ultimately by Orson Welles), insisted on a downbeat ending and demanded that it be shot on-location in expressionistic, documentary-style. [Cary Grant and James Stewart were also considered for the role of naive novelist Holly Martins (named Rollo Martin originally), ultimately played by Welles' Mercury Theatre actor and Citizen Kane (1941) co-star Joseph Cotten.] The director knew that the film's musical score could not be reflective of the traditional Old Vienna - waltz music by Strauss. Instead, it would be provided by a solo instrument -- a zither. The jaunty but haunting musical score by Viennese composer/performer Anton Karas lingers long after the film's viewing with its twangy, mermerizing, lamenting, disconcerting (and sometimes irritating) hurdy-gurdy tones.

In fact, Karas' musical instrument was a leading film character and advertised as such: "He'll have you in a dither with his zither (a laptop string instrument)." The insistent, chilling music sets a mood of polarized dislocations in the world (e.g., war and play, men and children) and in the corrupted city's 'no-man's-land' environment (with its bombed out, war-torn ruins, dark and slick streets, cemeteries and sewers criss-crossing beneath the sectored zones). Surprisingly, it was nominated for only three Academy Awards in 1950, including Best Director, and Best Film Editing. Its sole Oscar was for Robert Krasker's vivid, atmospheric, moody black/white cinematography (although the final long cemetery walk scene was actually shot by uncredited German cameraman Hans Schneeberger). Unusually reckless, canted camera angles (one of their earliest uses), and wide-angle lens distortions amidst the atmospheric on-location views of a shadowy Vienna cast a somber mood over the fable of post-war moral ambiguity and ambivalent redemption.

The deliberately unsettling, tilted angles reflected the state of the ruined, fractured and dark city, filled with black marketeers, spies, refugees, thieves, and foreign powers seeking control. [This was one of the first British films shot almost entirely on location. Others include writer/director Michael Powell's The Edge of the World (1937) and Powell's and Emeric Pressburger's The 49th Parallel (1941) (aka The Invaders).] And the film once again teamed co-stars Joseph Cotten and Orson Welles of Citizen Kane (1941) , in a tale of a foolishly-romantic, wimpy American writer (Holly Martins) of pulp westerns in occupied, post-WWII Vienna who tries to understand (and then decipher) the mysterious disappearance - vehicular accidental death and burial of an old school friend (Harry Lime) - who, unbeknownst to him, had become an exploitative, morally corrupt, and chilling black-market drug dealer and racketeer (of diluted penicillin), working out of the Russian zone.

[From 1951-52, Welles starred in a spin-off radio show titled The Lives of Harry Lime, a syndicated 52 episode series based on the adventures of his character in this film.] Anglo-Austrian director Frederick Baker created a fascinating behind-the-scenes look at the making of the film, including interviews, with the documentary essay Shadowing the Third Man (2004). This deconstruction of the film revisited various locales of the original film and compared them to the present-day restored Vienna. It also provided an account of the battles between co-producers Alexander Korda and David O. Selznick, and between scriptwriter Greene and Selznick.

In the documentary, Greene admitted for the first time: "Carol Reed was right he made a magnificent ending." The Story The credits of the complex masterpiece appear over a huge close-up of the vibrating strings of a zither, playing "The Harry Lime Theme" or "The Third Man Theme." While various documentary-style shots of post-war, divided, fragmented and occupied Vienna (a 'frontier' city dividing East and West - and governed by four Allied forces) are surveyed, an anonymous voice-over (from director Carol Reed) delivers a first-person prologue in the original UK version - suggesting that he had black market connections. [The lines only found in the UK version are in red.] [Joseph Cotten delivered the narration in the American release, delivering his own story - the lines in blue are only in the US version.] I never knew the old Vienna before the war, with its Strauss music, its glamour and [its] easy charm - Constantinople suited me better. I really got to know it in the classic period of the Black Market.

[Boots, stockings, cigarettes, and watches exchange hands.] [They could get anything if people wanted it enough and had the money to pay.] We'd run anything, if people wanted it enough- mmm - had the money to pay. Of course, a [the] situation like that does tempt amateurs, but [of course, they don't last long, not really, not like professionals] you know they can't stay the course like a professional. [A view of a dead body floating in an icy river.] Now the city - [A sign announces: "ENTERING THE AMERICAN ZONE."] it's [is] divided into four zones, you know, each occupied by a power - [Views of signs of the British, Russian, and French zones.] the American, the British, the Russian, and the French. But the center of the city - that's international, policed by an International Patrol, [A view of guard's duty being changed.] one member of each of the four powers. Wonderful.

[You can imagine what a chance they had], What a hope they had, all of them strangers to the place and none [no two] of them could speak [speaking] the same language, except a sort of smattering of German. [Four guards in a jeep each represent their nationalities.] [Oh, they were] Good fellows on the whole, did their best, you know. [Views of bombed-out sites around Vienna.] Vienna doesn't really look any worse than a lot of other European cities, bombed about a bit [a little, of course]. [Views of soldiers on guard, and then standing on parade and marching in a square.] Oh, I was gonna tell you, wait, I was gonna tell you about Holly Martins, an American. Came all the way here to visit a friend of his. The name is Lime, Harry Lime. Now Martins was broke and Lime had offered him some sort - I don't know - some sort of a job. Anyway, there he was, poor chap, happy as a lark and without a cent. [Anyway, I was dead broke when I got to Vienna.

A close pal of mine had wired me, offering me a job doing publicity work for some kind of charity he was running. I'm a writer, name's Martins, Holly Martins. Anyway, down I came, all the way to old Vienna, happy as a lark and without a dime.] An American, Western pulp novelist/writer of juvenile Western pulp stories (Zane Grey-style), Holly Martins (Joseph Cotten) [a frivolous first name to define the nature of his character] arrives at the railway station in post-war ravaged Vienna - still under Allied occupation and overrun with black markets. A youthful, sappy counterpart to the film's dark, con-artist counterpart, Harry Lime (Orson Welles), Holly is there to seek out his boyhood friend who had vaguely offered him a job (and sent him an airplane ticket), inviting him there to stay with him and author/write propaganda for a volunteer medical unit he runs. As his passport is checked by a British MP, he asks about Lime. He tells the customs official he's going to stay with a friend at 15 Stiftgasse.

The zither music dips, signifying that something is awry concerning the absence of Harry: Lime, Harry Lime....I thought he'd be here to meet me. Beginning his long, questioning search for Harry Lime, Holly makes his way to Stiftgasse 15, the location of Harry's second floor apartment, inauspiciously walking under a ladder leaning against the front of the residence. The building's architecture includes pseudo-Greek statuary, a facade of Vienna's past glory, now a city filled with corruption. [Goof: Note that the house number is 5 over the entrance to Harry Lime's apartment, not 15.] He is immediately shocked to learn from the German-speaking caretaker/Porter (Paul Hoerbiger), who is replacing a burnt-out light bulb, [a symbolic gesture of the repair of Europe], that Harry was recently killed on Thursday in a street accident - he was run over by a truck as he stepped from the sidewalk, and his coffin was taken ten minutes earlier to the cemetery: An accident, knocked over by a car in front of the house, have seen it myself, killed at once, immediately. Already in hell [pointing up mistakenly] or in heaven [pointing down mistakenly].

Sorry for the grave diggers. Hard work. It is frost. [The film both begins and ends with a funeral sequence and the burial of the same person.] Holly hurriedly rushes to the gravesite in the cemetery to attend Harry's funeral. As he approaches, he inquires about the cryptic ceremony, and is told by a distant onlooker (later identified as Major Calloway): "A fellow called Lime." A priest is saying prayers in German at the gravesite as Martins arrives - there are only a few stoic-faced onlookers and one beautiful woman. [Later, we learn it is Harry's Czech grieving mistress/girlfriend Anna Schmidt, a Russian exile and refugee.] After the ceremony, Martins is given a ride to town by cynical British military police officer Major Calloway (Trevor Howard). As they ride down the main road, Calloway notices the attractive dark-haired woman who was at the graveside walking towards the city. He follows her receding figure while looking out the car's back window.

Calloway offers to buy Holly a drink and the scene dissolves to the inside of a bar, where Martins reminisces about his old chum whom he last saw in September 1939 - his thoughts suggest a latent homosexual attraction: Holly: I guess nobody knew Harry like he did, like I did...back in school. I was never so lonesome in my life till he showed up...Best friend I ever had. Calloway: That sounds like a cheap novelette. Holly: I write cheap novelettes. Calloway: I'm afraid I've never heard of you. What's your name again? Holly: Holly Martins. The third man Bookreport - by Graham Greene referat A classic tale of friendship and betrayal The author: Henry Graham Greene was born on 2.10.1904 in Berkhamsted, England, and was one of six children. At the age of eight he attended the Berkhamsted school, where his father Charles was the head teacher. As a teenager he was under so immense pressure, that he got psychological problems and suffered a nervous breakdown.

In 1922 Greene was enrolled on the Balliol College, Oxford and in 1926, after graduation, he started to work for the "London Times" as sub-editor and for the "Nottingham Journal" as journalist, where he met his later wife Vivien Dayrell-Browning. In February 1926, before marring his wife, he was received into the Roman Catholic Church, which influenced him and his writings (moral, religious, social themes). In 1929 Greene's first novel "The Man Within"ï¿½ was published, so he became a freelance writer in 1930, but his popularity wasn't sealed before "Stamboul Train" was published in 1932. In 1935 he became the house film critic for "The Spectator". In 1938 Greene published "Brighton Rock" and visited Mexico to report on the religious persecution there, as a result he wrote "The Lawless Roads" and "The Power and the Glory". In 1940 he was promoted to literary editor for "The Spectator".

In 1941 - World War Two - he began to spy voluntarily for the British Foreign Office in Sierra Leone, western Africa and resigned in 1943, because of being accused of collusion and traitorous activities.ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ In 1950 "THE THIRD MAN" was published, which was written as a film treatment. So the book became famous after the movie had been released in 1949.

Greene states: "The Third Man was never to be read but only to be seen". In 1975 he separated from his wife, and on 3 April 1991 he died in Vevey, Switzerland.

Some other novels of the author: The Man Within - The Name of Action - Rumour at Nightfall - Stamboul Train - It's a Battlefield - England Made Me - A Gun for Sale - Brighton Rock - The Confidential Agent - The Power and the Glory - The Ministry of Fear - The Heart of the Matter - The Third Man - The End of the Affair - Loser Takes All - The Quiet American - Our Man in Havana - A Burnt-Out Case - The Comedians - Travels with my Aunt - The Honorary Consul - The Human Factor - Doctor Fischer of Geneva or The Bomb Party - Monsignor Quixote - The Tenth Man - The Captain and the Enemy The characters: Rollo Martins alias Buck Dexter: ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's an English author of cheap westerns.

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ When he arrives in Vienna after the World ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ World War II, he finds out that his best friendï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿

½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Harry Lime's dead.

Martins thinks he has ï¿½ been murdered, so he starts to investigate onï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ his own.

During his abidance he falls in love ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ with Anna Schmidt, Lime's girlfriend.

But theï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ girl still loves Harry, even after his death.

In ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ the end, Martins finds out about Harry Lime'sï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï

¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ real character...

Harry Lime: ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's an old school friend and idol of Martins. Harry Lime invites the author to Vienna to report on international refugees. But when his friend arrives, Harry's supposed to be dead.

Everybody thinks he has been run over by a car, but as time goes on, Rollo Martins finds out the frightening truth...ï¿½ï¿½ Colonel Calloway:ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's an English police officer, who narratesï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿

½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ the story by reconstructing his police files.ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ During the story, the Colonel often admits theï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï

¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ mistakes of their police work.

Anna Schmidt:ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ She's an actress, andï¿½ Harry Lime's girlfriend.ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿

½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Anna Schmidt's Hungarian, but she ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ masquerades as an Austrian girl.

Because of ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ that, she gets arrested by the four powers in ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿

½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Vienna.

She always remains loyal to Harryï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Lime, even when she hears about his real ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ character, because she really loves him.

Mr.

Koch:ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's Lime's caretaker and witness of hisï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï

¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ accident.

Mr.

Koch introduces "the thirdï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ man", whom he has seen, but couldn't ï¿½ï¿½ï¿½ï¿½ï¿½ï

¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ identify.

Because of that (he simply knows too much!) he gets a lot of troubles... Dr.

Winkler:ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's Lime's friend and present doctor at the ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï

¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ accident.

Colonel Cooler: ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's a friend of Harry Lime Herr Kurtz:ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's also a friend of Lime Joseph Harbin: ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Also a friend of him Mr.

Crabbin:ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ The representative of the fictitious Britishï¿½ï¿½ï¿½ï¿½ï¿½ Cultural Relations Society Benjamin Dexter: ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ He's a fictional novelist The summary: The story is narrated by Colonel Calloway, who reconstructs his police files.

Rollo Martins (alias Buck Dexter) travels after the World War II to the into four zones (the Russian, the British, the American and the French one) divided Vienna to visit his old school friend Harry Lime, who has invited him to Austria to report on international refugees. When arriving, Martins finds out that his friend has been run over by car and has died. At Lime's funeral the author of westerns meets Colonel Calloway, who states that Lime was the worst racketeer in Vienna, who would have been arrested if he had not been killed. Martins dissents from Calloway, because he has always regarded Lime as a hero and as an idol. He cannot prove it, because Martins has to leave Vienna the next day for lack of money. Fortunately, at his hotel Martins is taken for Benjamin Dexter, a very famous author, by Mr. Crabbin, a representative of the fictitious British Cultural Relations Society. Therefore he gets a hotel room for one week plus expenses, but he must host a lecture and literary discussion. So, he starts his own inquiry, at first with Mr. Kurtz, a friend of Harry, who explains that he, Colonel Cooler and, of course, the driver have seen the accident.

But Martins is not satisfied, he thinks Harry Lime has been murdered. Visiting Anna Schmidt, who's an actress and has been Lime's girlfriend, she tells the same as Kurtz has told, but mentions that even the driver has been a friend of Lime. After that, Martins visits Dr. Winkler to question him, but gets no information. At Lime's flat he meets Mr. Koch, who reveals that he is a witness who hasn't given evidence. He claims that there has been a third man (beside Kurtz and Cooler, the driver has stayed in the car), whom he could not identify. Martins wants Koch to give evidence but he refuses to do it and outrages. So Martins visits Cooler, who tells the same story as Kurtz, and asks him about the "third man", but he has seen nobody else. Then he visits Anna Schmidt again and tells her about his latest investigation, so they decide to question Koch again. As they arrive, Koch has been murdered, therefore they flee, and Martins walks back to his hotel, where Calloway is waiting for him. He tries to escape from this conversation, but outside of the hotel he's awaited by a friend of Mr.

Crabbin, who drives hi to a literary discussion. After that, Martins is brought back to Calloway. Martins tells him about the "third man", then Calloway informs him about Lime's rackets: In those days, only military hospitals have been supplied with Penicillin in Austria, thus no civilian doctor or hospital owns it. As a result, Penicillin has been stolen andï¿½ has been sold to Austrian doctors for much money. Finally, an organisation has been founded and penicillin has been diluted. The consequences have been, that it has caused venereal diseases and meningitis. Then he shows evidences that Lime, Kurtz, Cooler, Winkler and Harbin, a friend of Lime who has vanished, have been involved. So Martins gets disillusioned and disappointed about Lime and wants to leave Vienna, but he can't, because of the Austrian police. He thinks that Kurtz or the "third man" has killed Lime, so he tries to find this mysterious "third man". He visits Anna Schmidt to tell her all about Lime, and as leaving her, he finds out that someone's following him. He quickly turns around, and can fortunately see the face of the "third man": Harry Lime.

He pursues him to an iron kiosk where he vanishes, so he informs Colonel Calloway about all that. In the meantime Schmidt has been arrested by the four powers because of her falsified papers. Martins and Calloway find a door in the kiosk with stairs to the sewer system, which has been used for smuggling. Knowing that Lime is alive, Martins makes an appointment with him at the Praterï¿½s Great Wheel. There, he realises that Lime's character has totally changed, that he has become a man with no scruples, that he betrays and uses persons, but that he still has certain principles. He is godless man, possessed by evil and tempted by money. Visiting Schmidt again, she remains loyal to Lime, because she still loves him. So Martins, who has fallen in love with her, is a little bit disappointed. At Calloway`s office, he is informed thatï¿½ it's Harbin who has been in Limesï¿½s coffin, and that Winkler and Cooler will be arrested, but not Lime and Kurtz. Martins decides to be used for bait, because he has lost his faith in Lime's friendship.

So he makes another appointment with Lime. At the meeting, Lime realises the trap and flees. The police and Martins persecute him through the sewer system, and in the end Martins wounds and shoots Lime, his former best friend. About the topic: The novel deals with the main theme of friendship and betrayal. Martins betrays Harry Lime, Lime betrays himself and Anna Schmidt, only the girl remains loyal. The characters also use each other, so that there can't be a happy ending. Martins has lost his idol and in the end he even shoots him, but why? For the sake of justice or revenge? The "good" Martins assimilates in the end to the "evil" Lime. Perhaps in the end, Martins sees Lime as a rival concerning Anna Schmidt, because throughout the book the girl loves Lime instead of him. Martins is also in a discord and an inner conflict. He can be regarded as a hunter and Lime as the prey. The investigation of the protagonist does not find an individual culprit, but reveals political crimes in which children are the victims. Rollo Martins can also be compared with Graham Greene, because his friend and boss in Sierra Leone, Kim Philby, was a betrayer, but Greene took no measures.

My opinion: Reading that story was a pleasure for me. It wasn't very difficult, because the language that has been used is rather easy to understand. Of course, I was also very interested in the background, Vienna after World War II. Greene also uses some metaphors: The destroyed Vienna can show the destroyed friendship of Lime and Martins, and also the lost of any value. First Martins believed in friendship, but then killed Lime with mixed emotions. It is a perversion of values. Greene changes between first-person narrator, omniscient narrator, observer-narrator and camera eye. It is "a new habit of narrative" in which stage directions are integrated. All in all, I think the story's worth reading, it's unimportant which genre you prefer. "The third man" offers parts of all kinds of fiction, and (crime, history.), and that's what I really like about it.ï¿½ 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 Listen to Lives of Harry Lime, a.k.a. The Third Man, Vol. 1 by Hollywood 360 at Audiobooks.com Duration: 5 hours 35 minutes Summary: Made as a prequel to the hit film The Third Man, this radio show was created to follow the adventures of the popular character Harry Lime, played here, and in the movie, by Orson Welles. The 1949 film The Third Man won an Academy Award and was an international success, called "magic" by Roger Ebert and "one of the finest films ever made" by the New York Times. Written by New York Times bestselling novelist Graham Greene and directed by Carol Reed, the production starred Joseph Cotten as Holly Martins, an America who travels to postwar Vienna at the request of his old friend Harry Lime, played by Orson Welles. But it was the character of Harry Lime who nearly stole the show.

While living in London, Orson Welles became acquainted with producer Harry Alan Towers, who convinced Welles to appear in a radio series based on his character in The Third Man and to be titled The Lives of Harry Lime. Since Lime meets his end in the sewers of Vienna in the movie, Towers, with Welles' involvement, decided to make the radio show a prequel. Produced in England and recorded in London's IBC Studios, The Lives of Harry Lime had an authentic continental flavor, with adventures taking place in such exotic locales as Paris, Rome, Venice, Tangiers, and the French Riviera. Thanks to brilliant scripts, expertly performed by Welles and a stock company of talented actors, the underworld activities of Harry Lime and his always-questionable associates make for great entertainment. "Welles brings a mischievous portrayal to life to the delight of many, even writing a few of these shows himself. All most enjoyable half hours, they are definitely a case of rooting for the bad guy to win."-JohnBrown.tv Genres:

Question: Who created the fictional character Harry Lime?
Answer: Graham Greene