The Third Man
The Third Man

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- 81/100 based on 176,872 votes

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 led 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, ... (Full plot summary below)

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Full Plot Details

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 led 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.

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Movie Reviews

Slant Magazine - 10/10 by Matt NollerAlthough he’s only on screen for a fraction of the film’s running time, Lime (Welles) stands out as one of the screen’s most chilling embodiments of the banality of evil, and a perfect stand-in for Third Man’s vision of moral breakdown in post-WWII Europe.
Metro - 10/10 by Matt PriggeBest read not as an homage to Hitchcock - or to special super secret guest star Orson Welles - than as a study of what Carol Reed biographer Robert F. Moss describes as 'the ineffectuality of goodness.'
Radio Times - 10/10 by David ParkinsonSet in postwar occupied Vienna, the plot is a corker, littered with memorable moments and played to perfection by an unforgettable cast that's led with distinction by Orson Welles and Joseph Cotten.
Little White Lies - 10/10 by David JenkinsThis is a film which does away with such cretinous inanity as offering up goodies and baddies, instead presenting its cast of characters as doing things which they believe to be good, but are not seen as such through the eyes of observers.
Chicago Tribune - 10/10 by Michael PhillipsA triumph of disparate tones, colors and intentions. Like many, I have loved this thriller of conscience and betrayal most of my moviegoing life...Its brand of romantic fatalism is particularly seductive to teenage males, I think, and those who never fully recover from that moviegoing state of being.
Seattle Times - 10/10 by Moira MacDonaldIt’s a film — and a city — to get lost in, and it’ll haunt you afterward, like a face you thought you recognized under a streetlamp, before it disappeared.
Monthly Film Bulletin - 10/10 by MFB CriticsBy the very nature of its settings and story, there are occasional reminiscences of Lang and Hitchcock, but there is nothing borrowed or imitated. Stylistically, The Third Man is Reed's most impressive film.
Stream on Demand - 10/10 by Sean AxmakerThis film is lively, always moving forward, constantly bubbling with mystery and suspicion and secrets, but the characters are always driving the film.
Chicago Sun-Times - 10/10 by Roger EbertOf all the movies I have seen, this one most completely embodies the romance of going to the movies.
The Telegraph - 10/10 by Alan StanbrookThroughout the film the sense of Vienna as a frazzled echo of its glorious past is underpinned by Reed's greatest trouvaille – the discovery of Anton Karas's zither melodies, used as the only musical accompaniment. Half-jaunty, half-melancholic, they epitomise, like the film itself, a world gone sadly to seed.

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The Third Man