|
gptkbp:instance_of
|
gptkb:stage_adaptation
gptkb:play
gptkb:film
|
|
gptkbp:adapted_into
|
gptkb:film
a short film
a graphic novel
various stage productions
a stage musical
a video game
a novel
a radio drama
a television play
|
|
gptkbp:awards
|
gptkb:BAFTA_Award_for_Best_Film
gptkb:Academy_Award_for_Best_Cinematography
gptkb:Best_Cinematography
|
|
gptkbp:box_office
|
$1.5 million
$3 million
|
|
gptkbp:character
|
gptkb:Anna_Schmidt
gptkb:Claudia
gptkb:Harry_Lime
gptkb:Holly_Martins
gptkb:Major_Calloway
gptkb:Baron_Kurtz
The informant
The doctor
The friend
The police inspector
The writer
The lover
The American soldier
The Italian gangster
|
|
gptkbp:character_arc
|
Holly Martins' moral dilemma
|
|
gptkbp:characters
|
gptkb:Anna_Schmidt
gptkb:Harry_Lime
gptkb:Holly_Martins
|
|
gptkbp:cinematography
|
gptkb:Robert_Krasker
|
|
gptkbp:collection
|
gptkb:the_British_Film_Institute
|
|
gptkbp:color
|
Black-and-white
black and white
|
|
gptkbp:coordinates
|
gptkb:Vienna
|
|
gptkbp:country
|
gptkb:Austria
gptkb:United_Kingdom
|
|
gptkbp:critical_reception
|
Highly acclaimed
highly acclaimed
|
|
gptkbp:criticism
|
Widely praised by critics
|
|
gptkbp:cult_status
|
cinema history
|
|
gptkbp:cultural_impact
|
considered a classic
Influenced many filmmakers
considered one of the greatest films of all time
Considered a classic of cinema
|
|
gptkbp:cultural_significance
|
Symbol of post-war disillusionment
often studied in film schools
Considered a classic of cinema
Iconic film in film history
iconic representation of post-war Europe
|
|
gptkbp:debut_year
|
1953
|
|
gptkbp:directed_by
|
gptkb:Carol_Reed
|
|
gptkbp:director
|
gptkb:Martin_Scorsese
gptkb:David_Lynch
gptkb:Francis_Ford_Coppola
gptkb:Carol_Reed
|
|
gptkbp:distributor
|
gptkb:Columbia_Pictures
gptkb:British_Lion_Films
|
|
gptkbp:editing
|
gptkb:Oswald_Hafenrichter
|
|
gptkbp:explores_themes
|
gptkb:betrayal
gptkb:friendship
morality
post-war disillusionment
|
|
gptkbp:famous_quote
|
' The third man is Harry Lime.'
' In Italy for thirty years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance.'
|
|
gptkbp:features
|
black market
sewers of Vienna
|
|
gptkbp:features_a_famous_line_about
|
the cuckoo clock
|
|
gptkbp:features_a_memorable_chase_scene_involving
|
the Vienna Ferris wheel
|
|
gptkbp:features_character
|
gptkb:Anna_Schmidt
gptkb:Harry_Lime
gptkb:Holly_Martins
|
|
gptkbp:film_awards
|
gptkb:National_Board_of_Review_Awards
gptkb:Cannes_Film_Festival_Awards
gptkb:Venice_Film_Festival_Awards
gptkb:New_York_Film_Critics_Circle_Awards
gptkb:BAFTA_Awards
|
|
gptkbp:film_editing
|
gptkb:Oswald_Hafenrichter
|
|
gptkbp:film_festival
|
gptkb:Cannes_Film_Festival
gptkb:Cannes_Classics
|
|
gptkbp:film_length
|
104 minutes
|
|
gptkbp:film_score
|
Zither music
Iconic zither music
Iconic zither score
|
|
gptkbp:film_technique
|
gptkb:Chinatown
gptkb:The_Third_Man_(video_game)
Use of light and shadow
Use of shadows and light
Expressionist cinematography
expressionist cinematography
Dutch angles
Many neo-noir films
|
|
gptkbp:filming_location
|
gptkb:Vienna,_Austria
|
|
gptkbp:filmography
|
Studied in film schools
|
|
gptkbp:first_performance
|
gptkb:1949
|
|
gptkbp:genre
|
gptkb:Film_Noir
gptkb:Film_noir
gptkb:mystery
gptkb:drama
gptkb:thriller
film noir
|
|
gptkbp:has_adaptation
|
gptkb:television_series
gptkb:radio_station
gptkb:novel
|
|
gptkbp:has_awards
|
gptkb:Tony_Award_for_Best_Play
gptkb:BAFTA_Award_for_Best_Film
gptkb:Academy_Award_for_Best_Original_Score
|
|
gptkbp:has_been_influential_in_the_genre_of
|
gptkb:thriller
|
|
gptkbp:has_been_restored
|
modern audiences
|
|
gptkbp:has_cameo
|
gptkb:Orson_Welles
gptkb:Bernard_Lee
Orson Welles as Harry Lime
|
|
gptkbp:has_character
|
gptkb:Police_Department
gptkb:Writer
black market dealer
|
|
gptkbp:has_cultural_impact
|
influence on literature
influence on theatre
influence on film noir
|
|
gptkbp:has_influenced_filmmakers_such_as
|
gptkb:Martin_Scorsese
|
|
gptkbp:has_natural_feature
|
gptkb:narrative_structure
|
|
gptkbp:has_performed_at
|
gptkb:theater_festivals
|
|
gptkbp:has_quote
|
' The third man is a shadow.'
' The world is a small place.'
' In Italy for thirty years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance.'
' You can’t trust anyone.'
' I never knew you.'
|
|
gptkbp:has_sequel
|
gptkb:The_Third_Man:_The_Final_Chapter
gptkb:The_Third_Man_Returns
|
|
gptkbp:has_soundtrack
|
gptkb:Anton_Karas
|
|
gptkbp:home_media_release
|
gptkb:Blu-ray
DVD and Blu-ray
released on Blu-ray
released on DVD
Various DVD and Blu-ray editions
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The Third Man
|
|
gptkbp:influenced
|
gptkb:The_French_New_Wave
gptkb:The_Third_Man_(video_game)
many filmmakers
the genre of neo-noir
|
|
gptkbp:influenced_artists
|
Neo-noir
neo-noir
|
|
gptkbp:influenced_by
|
gptkb:German_Expressionism
gptkb:The_Third_Man_(radio_play)
film noir
post-World War II Europe
Graham Greene's novella
|
|
gptkbp:inspiration
|
Graham Greene's novella
Graham Greene's experiences in Vienna
|
|
gptkbp:inspired
|
gptkb:radio_station
|
|
gptkbp:inspired_by
|
Graham Greene's experiences
|
|
gptkbp:is_a_backdrop_for
|
gptkb:the_Cold_War
|
|
gptkbp:is_a_subject_of
|
academic papers
|
|
gptkbp:is_analyzed_in
|
gptkb:character_development
cinematography techniques
|
|
gptkbp:is_available_on
|
gptkb:Blu-ray
|
|
gptkbp:is_considered_as
|
film noir
|
|
gptkbp:is_explored_in
|
human nature
|
|
gptkbp:is_featured_in
|
documentaries about film history
|
|
gptkbp:is_known_for
|
iconic dialogue
zither score
|
|
gptkbp:is_known_for_its_atmospheric
|
gptkb:System_Preferences
|
|
gptkbp:is_known_for_its_complex
|
moral themes
|
|
gptkbp:is_known_to
|
location shooting
shadow and light
|
|
gptkbp:is_often_compared_to
|
other classic films
|
|
gptkbp:is_often_discussed_in
|
post-war cinema
|
|
gptkbp:is_often_included_in_lists_of
|
greatest films of all time
|
|
gptkbp:is_often_referenced_in
|
masterpiece of cinema
|
|
gptkbp:is_often_screened_in
|
film classes
|
|
gptkbp:is_recognized_by
|
gptkb:the_American_Film_Institute
|
|
gptkbp:is_recognized_for
|
cultural impact
iconic imagery
|
|
gptkbp:is_referenced_in
|
gptkb:literature
gptkb:popular_culture
|
|
gptkbp:is_studied_in
|
film studies courses
|
|
gptkbp:language
|
English
|
|
gptkbp:legacy
|
influential in cinema history
Considered a classic of cinema
Regarded as one of the greatest films of all time
|
|
gptkbp:location_shooting
|
gptkb:Vienna,_Austria
|
|
gptkbp:main_character
|
gptkb:Holly_Martins
|
|
gptkbp:music
|
gptkb:Anton_Karas
|
|
gptkbp:music_by
|
gptkb:Anton_Karas
|
|
gptkbp:music_composer
|
gptkb:Anton_Karas
|
|
gptkbp:narrative_style
|
gptkb:Flashback
Non-linear storytelling
|
|
gptkbp:notable_actor
|
gptkb:Orson_Welles
gptkb:Alida_Valli
gptkb:Trevor_Howard
gptkb:Joseph_Cotten
|
|
gptkbp:notable_awards
|
gptkb:Cannes_Film_Festival_Best_Director
|
|
gptkbp:notable_for
|
its atmospheric cinematography
zither score
|
|
gptkbp:notable_quote
|
' I never knew the old Vienna.'
' The third man is a shadow.'
' The world is a small place.'
' You can't take it with you, you know.'
' In Italy for thirty years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance.'
' In Italy for thirty years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo and the Renaissance.'
|
|
gptkbp:notable_scene
|
sewer chase
the sewers of Vienna
the sewer chase
The sewer chase scene
|
|
gptkbp:originally_a
|
gptkb:film
|
|
gptkbp:parodied_in
|
various media
|
|
gptkbp:parody
|
gptkb:The_Third_Man_(The_Simpsons)
|
|
gptkbp:performed_in
|
multiple languages
|
|
gptkbp:photography
|
Innovative use of shadows
|
|
gptkbp:plot_twist
|
Harry Lime's true nature
|
|
gptkbp:premiere
|
gptkb:Cannes_Film_Festival
gptkb:Cannes_Film_Festival_1949
|
|
gptkbp:premiere_location
|
gptkb:Odeon_Leicester_Square
|
|
gptkbp:premiered_on
|
gptkb:Lyric_Theatre,_London
|
|
gptkbp:produced_by
|
gptkb:London_Film_Productions
|
|
gptkbp:production_company
|
gptkb:London_Film_Productions
gptkb:British_Lion_Films
|
|
gptkbp:provided
|
film preservation efforts
film retrospectives.
|
|
gptkbp:release_country
|
gptkb:United_Kingdom
|
|
gptkbp:release_date
|
gptkb:1949
September 2, 1953
1949-09-02
|
|
gptkbp:release_format
|
Black-and-white
theatrical
Black-and-white film
|
|
gptkbp:release_year
|
gptkb:1949
|
|
gptkbp:released
|
gptkb:1949
|
|
gptkbp:released_in
|
gptkb:1949
multiple formats
|
|
gptkbp:remake
|
gptkb:The_Third_Man:_The_Musical
gptkb:The_Third_Man_(2019)
gptkb:The_Third_Man_(TV_series)
|
|
gptkbp:restoration
|
gptkb:Criterion_Collection
restored in 1980s
Restored in 2015
|
|
gptkbp:runtime
|
104 minutes
|
|
gptkbp:screenings
|
film festivals worldwide
|
|
gptkbp:screenplay
|
gptkb:Graham_Greene
|
|
gptkbp:set_in
|
gptkb:Vienna
post-World War II Vienna
|
|
gptkbp:setting
|
gptkb:Vienna
gptkb:Post-World_War_II_Vienna
post-World War II Vienna
|
|
gptkbp:soundtrack
|
gptkb:The_Third_Man_Theme
Anton Karas' zither music
|
|
gptkbp:starring
|
gptkb:Orson_Welles
gptkb:Alida_Valli
gptkb:Joseph_Cotten
|
|
gptkbp:symbolism
|
The Ferris wheel
|
|
gptkbp:themes
|
gptkb:betrayal
Post-war disillusionment
|
|
gptkbp:won_award
|
gptkb:Best_Cinematography
|
|
gptkbp:writer
|
gptkb:Graham_Greene
|
|
gptkbp:written_by
|
gptkb:Graham_Greene
|
|
gptkbp:bfsParent
|
gptkb:Orson_Welles
gptkb:National_Film_Registry
gptkb:Film_Noir
gptkb:The_Man_Who_Wasn't_There
gptkb:Cannes_Film_Festival
gptkb:Robert_Krasker
gptkb:Graham_Greene
gptkb:Trevor_Howard
|
|
gptkbp:bfsLayer
|
4
|