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Scooped by oAnth - "offene Ablage: nothing to hide"

The Third Man (1949) directed by Carol Reed - Film noire - Music: Anton Karas | offene Ablage: nothing to hide 2011-05-22

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:

All entries concerning "The Third Man" here listed are bundled available on soup.io - please click on the title line


- The film (British release without subtitles) was completely available at Youtube - the account has been closed due to copyright infringement - it is nevertheless completely available e.g. via

-2 original recordings (1949/50) at Youtube, too, with zither player & composer Anton Karas playing his famous "Harry Lime Theme".


- British version beginning of the film:

- Shadowing the Third Man - Documentary [eng]
Carol Reed's The Third Man - Documentary in 7 parts
- youtube playlist


From Wikipedia-Entry



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, ...


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.



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....



.... 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.



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Scooped by oAnth - "offene Ablage: nothing to hide"

Ballet mecanique (1924) Fernand Leger, Dudley Murphy, George Antheil - offene Ablage: nothing to hide

Ballet mecanique (1924) Fernand Leger, Dudley Murphy, George Antheil  - offene Ablage: nothing to hide | oAnth-miscellaneous | Scoop.it
2 youtube videos (~16min)


As an enthusiast of the modern, Léger was greatly attracted to cinema, and for a time he considered giving up painting for filmmaking. In 1923–24 he designed the set for the laboratory scene in Marcel L'Herbier's L'Inhumaine (The Inhuman One). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger produced and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of images of a woman's lips and teeth, close-up shots of ordinary objects, and repeated images of human activities and machines in rhythmic movement.


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