"The Third Man" is running in an art-house theatre here, using the 50th anniversary restored print. Fantastic. There's nothing like seeing these old movies in a cinema and getting the full experience (not to mention the full image, without crappy TV overscan).
Just had to share...
But you know, I still think "Odd Man Out" is better.
A fine comprehensive Rosenbaum review, though I don't agree with every point he makes.
In passing, one of the things now forgotten about the ten years following World War II, is how hard the time was not only on the losers like the Germans and the Austrians, but on winners like the British. The bleak vision of Vienna in THE THIRD MAN must have made the British feel a little better about the fact that, years after the war, sugar and meat were still being rationed, and that they could not have a glass of good Scotch because all the best was being shipped abroad to places like the U.S., in order to gain foreign credit.
And then there is THE MAN BETWEEN (Reed, 1953), a rather underrated picture, which turns the Harry Lime figure (James Mason again) into a tragic hero.
went to see Third Man in the Twin Cities this past weekend along with Ambersons and Kane. The Third Man print was immaculate, Ambersons quite good and Kane had some of the lighter parts of the image blown out pretty badly.
Before Ambersons they showed the trailer for the 3rd Man restoration, which was quite enjoyable.
According to Warner Home Video the Ambersons DVD is being held up while they look for better film elements... seeing this print will hold me over for awhile - though I did make a nice rip of the laserdisc with the Carringer commentary included.
Personally, I doubt that I'll be upgrading my set, especially since (aside from a new transfer and a higher bitrate) it doesn't really offer much that wasn't part of the earlier edition.
The picture quality on their first go was horrible. Stationary objects in the background can be seen to wiggle and melt into each other. It's like watching Carol Reed on acid. If they did a new transfer it would be worth the repurchase.
The extras look the same except for the inclusion of Shadowing the Third Man, which I saw on TCM a few years ago. I turned it off after only a couple minutes, due to the narrator twice calling Welles a liar in that time.
The Criterion Third Man DVD was one of my favorites in my collection. Still is, probably. It was what got me hooked on the DVD format in the first place. Seeing that eye catching cover on the store shelf made it impossible not to buy. I'll have trouble parting with it, but I suppose an image upgrade is in order.
I must admit that I haven't watched The Third Man in ages, but outside of some compression artifacts, I don't remember anything akin to watching the film while on acid...(good description, though!)...Actually, it is a bit funny that you say that, since more than one reviewer has cited the old DVD as representing an early zenith of DVD releases. Granted, I know that the film was Welles' most famous acting assignment (or at least one of the most famous), but I can't say the film is one of my favorites (though it is a pretty good film).
I ran an extract in class and one student was interested in seeing the whole film. It does contain one of Orson's best acting performances but the heavily indulgent canted angle shots is too much to take.
When I go to Amazon (from the Criterion BUY link), I find only the earlier releases. Anyone know when this one will be available? Or am I just not looking in the right place? Thx.
The Criterion Newsletter is announcing THE THIRD MAN re-release, on two discs, for May. As may have been noted, the double disc set will have the following special features:
All-new, restored high-definition digital transfer.
Video introduction by writer-director Peter Bogdanovich.
Two audio commentaries: one by filmmaker Steven Soderbergh and screenwriter Tony Gilroy, and one by film scholar Dana Polan.
Shadowing "The Third Man" (2005), a ninety-minute feature documentary on the making of the film.
Abridged recording of Graham Greene’s treatment, read by actor Richard Clarke.
"Graham Greene: The Hunted Man," an hour-long, 1968 episode of the BBC's Omnibus series, featuring a rare interview with the novelist
Who Was the Third Man? (2000), a thirty-minute Austrian documentary featuring interviews with cast and crew.
The Third Man on the radio: the 1951 “A Ticket to Tangiers” episode of The Lives of Harry Lime series, written and performed by Orson Welles; and the 1951 Lux Radio Theatre adaptation of The Third Man.
Illustrated production history with rare behind-the-scenes photos, original UK press book, and U.S. trailer.
Actor Joseph Cotten’s alternate opening voice-over narration for the U.S. version.
Archival footage of postwar Vienna.
A look at the untranslated foreign dialogue in the film.
Optional English subtitles for the deaf and hard of hearing.
PLUS: A booklet featuring essays by Luc Sante, Charles Drazin, and Philip Kerr.
Also: a web-exclusive essay on Anton Karas by musician John Doe
With the hi-def transfer, documentaries and commentaries, there's more than enough new material to warrant buying this one again. I'm looking forward to it!
Last edited by Roger Ryan on Thu May 17, 2007 8:42 am, edited 1 time in total.
I also noticed that when TCM (Turner Classic Movies) shows the film they have a better print of the film then what Criterion used on their first release!
Here is the technical information from the latest Criterion Newsletter:
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"About the Transfer
"The Third Man is presented in its original aspect ratio of 1.33:1. On widescreen televisions, black bars will appear on the left and right of the image to maintain the proper screen format. This new high-definition digital transfer was created on a Spirit Datacine from a restored 35mm fine-grain master positive. Thousands of instances of dirt, debris, and scratches were removed using the MTI Digital Restoration System. To maintain optimal image quality through the compression process, the picture on this dual-layer DVD-9 was encoded at the highest-possible bit rate for the quantity of materials included.
"The soundtrack was mastered at 24-bit from a restored 35mm fine-grain master positive print, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle. The Dolby Digital 1.0 signal will be directed to the center channel on 5.1-channel sound systems, but some viewers may prefer to switch to two-channel playback for a wider dispersal of the mono sound."