Third Man, The

Date: 1949
Director: Carol Reed
Production Company: London Film Productions

Stars: Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard, Bernard Lee, Wilfred Hyde-White
Location(s): Vienna (Austria)

Region(s):

Storyline:

American pulp fiction novelist Holly Martins travels to shadowy postwar Vienna to find that his long term friend Harry Lime, who had invited him there, had just been killed in a car accident and was also one of the City’s worst racketeers. Refusing to accept his friends involvement in criminal activities he sets out to investigate the mysterious death and hopefully clear his friends name. When he learns from Harry’s porter that there was a “third man” present at the time of the accident his enquiries lead him to Harry’s suspect associates as well as his girl friend Anna Schmidt and the international police. In due course his friend emerges from the darkness of a doorway to be “the third man”.

Sound Track:

Listen to the soundtrack theme music while you view the screen captures.

Additional Information:

Screen captures and uncredited now shots uploaded by Richard Lovejoy.

With sincere thanks to W. Unruh, his website http://axion.physics.ubc.ca/thirdman/thirdman.html and all those who have over time provided so much additional information and material for him making my attention to this film so much more enjoyable and I must say, “easier”. The depth of analysis and investigation together with the results is absorbing.

My thanks must also go to Brigitte Timmermann and her master volume The Third Man’s Vienna – Celebrating a Film Classic for additional location and background information. A totally engrossing read.

Denstone Kemp advises that “Major  Calloway’s badge seems to be that of 7th Queen’s Own Hussars. His battle-dress arm flashes seem to support this as they appear to be Eighth Army and RAC arm-of-service colours ( though impossible to distinguish in B&W). Sgt. Paine is almost certainly a member of the Northamptonshire Regiment.”

Buy this film on Amazon link

Can you help:

If you have any information regarding this production, the locations or, even better, some comparison shots please contact us. Images submitted must be in Landscape orientation, as would be seen on the cinema screen, not Portrait.

We are aware that there are films on the site that were added when the criteria for the inclusion of locations was very different from today and, as a result, there may be scenes missing from some productions. Please do not forward additional screen captures to us but bring the detail to our attention, for we do, and are, 're-addressing' these older entries as time allows.

  • 'Now' required
A skyline view of Vienna

The location of Vienna is set by a roof top view including the dome of the Hofburg Palace to the left and the spire of St Stephen’s Cathedral dominating. An almost identical view appears in 'The Devil's Agent'.

Tghe golden statue of Strauss in Vienna

The classic features of Vienna are shown as Carol Reed, in a voice over, talks of “the old Vienna before the War” that he never knew. The Strauss monument in Stadtpark.

A golden statue of Strauss surrounded by ornate archway

Possibly even more golden now than in 1949.

Stone figures and sculpture on the roof of Parliament Building Vienna

“Constantinople suited him better.” The top of Parliament Building facade, Schmerlingplatz.

The property balustrade showing four statues and a bronze horse drawn chariot

Best possible shot from ground level.

The Beethoven statue in Vienna

The Beethoven Monument in Beethovenplatz.

A large statue of Beethoven backed by a large building.

Fortunately no snow when I was there.

A view thought an archway of Rathaus Vienna with the spires of Votive church visible

Reed explains that the City is divided into four zones – “American”. The Rathaus with the Votive Church in the background.

A view through an archway to a twin spired church.

Closer access was not permitted at the time of my visit.

A gate of Schoenbrunn Palace and a small [portion of the palace visible in the background

“British”. Schöenbrunn Palace.

Looking through a portion of a wrought iron gate and its adjoining building to the right hand wing of the Schoenbrunn Palace

Perhaps more colourful now and, of course, without the sign.

  • 'Now' required
A gatepost of Belvedere Vienna

“Russian”. Belvedere, Prinz Eugen-Straße 27.

  • 'Now' required
A portion of the Westbahnhof station before demolition.

“French”. Westbahnhof, demolished in 1949.

  • 'Now' required
Four heraldic plaques on a wall.

“The centre of the City is International.” Palais Auersperg, Auerspergstrasse 1, Josefstadt.

  • 'Now' required
A changing of the guard in Justizplatz Vienna

"Policed by an International Patrol, one member of each of the four powers." Justizpalast, Schmerlingplatz.

  • 'Now' required
Hoher Markt, Vienna showing the Wedding Fountain, bomb damage and the spires of St. Stephen's Cathedral

“Vienna doesn’t look any worse than a lot of any other European Cities”. Hoher Markt with the Vermählungsbrunnen (Wedding Fountain) foreground and the prominent spire of St. Stephen’s Cathedral.

  • 'Now' required
A bombed St. Stepansdom Vienna

St. Stephan's Cathedral (Stephansdom), destroyed by fire in 1945 as a result of flames from nearby buildings. As seen from the South East.

  • 'Now' required
The Wedding Fountain in Hoher Markt together with bamb damaged buildings.

Hoher Markt with the Wedding Fountain to the left and Stephansdom in the far background.

  • 'Now' required
A bomb damaged Vienna with the Ferris wheel in the background

“bombed about a bit”. The all important Ferris Wheel naturally features.

  • 'Now' required
Soldiers on the steps of the Palace of Justice saluting

Palace of Justice, (Justizplatz), Schmerlingplatz. The building can be seen in 'The Devil's Agent',

  • 'Now' required
A small line of troops marching past the Palace of Justice, Vienna

“oh, I was going to tell you about Holly Martin (Joseph Cotton) who came all the way here to visit a friend of his . . . . Harry Lime”. Justizplatz, Schmerlingplatz.

Holly Martin (Jospeh Cotton) approaching the apartment house of his friend Harry Lime

Holly arrives in Vienna “happy as a lark and without a cent” and goes to visit his friend Harry. Josephplatz 5.

A view along a pavement with doorway flanked by to very large scuptured figures, cars parked.

Now a much more opulent scene.

  • 'Now' required
Holly Martin walking in the entrance hall of apartment house.

Holly enters the building. Unfortunately the doors are now well secured.

  • 'Now' required
Holly Martin walking towards the camera in cemetery.

Holly learns from the porter that his friend Harry Lime has been killed by a car and arrives in time for the funeral. Zentralfriedhof (Vienna Central Cemetery).

  • 'Now' required
A close up of Trevor Howard as Major Calloway with Holly Martin approaching amongst grave stones.

Attending the funeral is Major Calloway (Trevor Howard).

  • 'Now' required
Also at the cemetery is Anna Schmidt played by Alida Valli with Holly Martin behind her.

Also there is Anna Schmidt (Alida Valli) Lime's girlfriend.

  • 'Now' required
Standing side by side at the graveside is Baron Kurtz and Dr Winkel

By the graveside are ‘Baron’ Kurtz (Ernst Deutsch) and Dr Winkel (Erich Ponto).

  • 'Now' required
Holly Martin leaves the graveside followed by Major Calloway

As Holly leaves the graveside he is followed by Maj. Calloway.

  • 'Now' required
The Major offers Holly a lift to town

The Major offers Holly a lift into town.

  • 'Now' required
Sergeant Paine sits in an open top jeep watching events

They are observed by Sgt. Paine (Bernard Lee).

  • 'Now' required
A view of the cemetery drive with a car pulling away

Calloway and Holly drive off followed by Sgt. Paine.

Baron Kurtz identifies himself to Holly at a Cafe with a waiter in the background.

Harry arranges to meet ‘Baron’ Kurtz at the Café Mozart to find out greater detail of the accident. Neuer Markt.

A blue and a whire car passing in front of the camera with buildings on the left hand side

Café Mozart is elsewhere and it is certainly less quiet now.

Kurtz agrees to show Holly how the accident that killed Harry Lime happened. Josephplatz.

A view along a pavement with a doorway flanked by two large sculptured figures.

Pity about all the metallic objects.

Kurtz points to the place in the road where Lime was knocked down

A truck approached as Harry was crossing to meet a friend . . . . ”it was just about here”. Josephplatz.

The part face of a three storey building with two gre painted arched doors on the left and right of the ground floor.

A break in the tour parties.

Kurtz points to the spot in Jospehplatz where Harry Lime died

Kurtz and Harry’s friend “picked him up and laid him down just about here . . . . and this is where he died”. Josephplatz.

A detail of the base to a large statue pedestal with a bollard and chains surrounding it

It benefits from the more colourful background.

The porter of Josephplatz 5 watches events as he sweeps the pavement

They are watched throughout by Harry’s Porter (Paul Hörbiger). Josephplatz 5 (Palais Pallavicini).

A view along a pavement with the base of two sculptures either side of a doorway on the right hand side.

The porter is clearly still doing a very good job.

Holly walks towards the porter who has his back turned

Holly crosses back to enquire of the Porter who Harry’s friends were. Josephplatz 5.

A close up of a lrage doorway with two sculptured figures adorning each side.

I only wish that I could have had access.

  • 'Now' required
The porters wife comes to tell the porter that he is wanted on telephone

The Porters wife (Annie Rosar) overhears the conversation getting “difficult” and calls him in on the pretext of a telephone call. Josephplatz 5.

A view of a street courtyard at night from an apartment window

Holly meets up with Anna to find out more about the accident from the Porter. During his conversation with the Porter he looks out of Harry Lime's apartment window. The view is not that of Josephplatz as might be expected but Ledererhof some distance away.

A small courtyard type road junction with and ornate balcony to the property on the right hand side.

From ground level.

Holly walks Anna home to her apartment, they approach the main door

Afterward Holly sees Anna to her home. Am Hof.

A view along a pavement with a modern glass front building to the left and a part of an old building in the background

Regrettably the old ornate building is gone but the fire station in the background remains, albeit without the clock.

The landlady greets them at the door telling them that the police are ion her apartment

They learn from the Anna’s landlady (Hedwig Bleibtreu) that the police are searching her apartment. Am Hof.

A window with a reflection of a square and parked cars.

A window not a door, I think most of us would prefer that the old was in situ.

Looking to the upper floors of the apartment block, one room is lit.

They glance upwards to see the lights on.

An upward view of a modern building showing the windows of the first three floors.

A daylight shot of the replacement building.

  • 'Now' required
Holly is in an apartment building

Holly calls on Harry’s doctor, Dr. Winkel who he understands happened to be passing by just as Harry was dying. St. Ulrichsplatz.

  • 'Now' required
Holly stands on a street corner as a tram car passes. As view from an upper floor.

At the International Police Station Maj. Calloway advises Anne, whom he is questioning regarding items they had taken from her apartment, that Holly is still waiting for her outside. The junction of Schellinggasse and Schwarzenbergplatz.

The illuminated sign over the door of the Casanova Club

Holly calls at the Casanova Club to meet Anne. Dorotheergasse 6-8.

A close-up of the heading of a cafe doorway and a commemorative tablet on the wall to the left of the doorway.

All now long gone.

Dr Winkel with his push bike against the backdrop of bomb damaged buildings

Dr Winkel learns of a conspirators meeting “at the bridge” with Harry’s friend Popescu (Siegried Breuer) and others. Borsegasse at the junction with Tiefer Graben with Maria am Gestade Church in the background. He is setting off from nowhere near his apartment in Capture 38.

A view acroos a road to a square backed by a large church and tower.

All now carefully restored, well, except for the modern building on the left.

A view of a suspension bridge from ground level.

The parties meet. The Reichsbrüke (Imperial Bridge). It collapsed on Sunday 1st August 1976 killing one person.

A view of a bridge fromthe top of a bus on a very wet grey dark day.

The replacement bridge from a tourist bus on a very wet, cold grey day. There is now no pedestrian access to the bridge, the walkways and central reservation were given up for lane widening in 2003.

Holly stands outside Josephplatz 5 looking up to Harry's apartment

Holly returns to the scene of Harry’s accident and the Porter talks to him from an upstairs window inviting Harry to return to see him in the evening. Josephplatz 5.

A view over a narrow road to a building with the front door on the immediate right of picture.

Not so possible to wander in the middle of the road now.

Ann and Holly look concerned when they see froma distance police and a crowd outside Harry's apartment block

As Anna and Holly turn the corner the same evening to visit the Porter . . . . In fact they are looking in an entirely different direction. Braunerstrasse with Josephplatz in the background.

A view view across to a corner of a square and the facade of a white three story building.

Josephplatz, but only now do I realise that I should have been further to the right at the corner with Braunerstrasse. A corrected shot is required here.

The scene of the police and a crowd oustide Josephplatz 5

. . . . they see the police and a crowd.

A view along a pavement to an archway through which traffic can enter a square.

A few minutes earlier and you could have seen a tour group.

A little boy in Josephplatz accuses Holly of murder

Having ascertained that the Porter had been murdered they leave hurriedly followed by Little Hansel (Herbert Halbik) who is accusing Holly. He turns to call his father before renewing his chase. Little Hansel is actually in Braunerstrasse with Josephplatz in the background. Josephplatz No 5 is round the corner to the left.

A view across a square a a white three story building with three grey arched doors.

Once again I realise that I should have been further to the right at the corner with Braunerstrasse. That is the consequence of believing continuity. As with Capture 44 a corrected shot is required here.

Anna and Holly run down a flight of stone steps

Holly and Anna make their escape. Ruprechtsplatz with St. Ruprechts Kirche in the background. Another location that's shared with 'The Devil's Agent' made 13 years later.

A view of a flight of stone steps to a church and a building beyond.

Health and Safety Austrian style have had their way.

A junction of small streets looking into a square and a small crowd.

Closely followed by Little Hansel and the crowd. Drahtgasses looking towards Am Hof.

A view across the outdoor eating area of a restaurant and into a square surrounded by buildings.

I am sure my view would have been ruined in the summer by umbrellas.

  • 'Now' required
A high angled shot of a cinema entrance with Holly and Anna about to eneter

They enter the Cinema called “Heimatkino”. Portzellangasse.

A junction of dark streets, a small boy and his large shadow on a wall.

As Anna buys the tickets Holly turns to see the little boy coming round the corner. Ledererhof, actually nowhere near the cinema.

A courtyard with bare trees in large post on the left and an arched doorway to the right.

Still a quiet part of the City.

The facade of the Hotel Sacher

Holly leaves Anne at the cinema and at the Hotel Sacher endeavours to use a telephone to call Major Calloway but finds that a car and driver is waiting for him.

An oblique shot of the facade of the Hotel Sacher.

More than one car waiting these days.

An old taxi speeds past a bombed shell of a building at night

Before he can say where he wants to go the car speeds off through the Huher Markt (High Market) . . . . The building was on the corner with Marc Aurel Strasse, now rebuilt.

A view across a wet road to a building and the road on it left hand side.

The war damaged building replacement.

In the dead of night a car approches the camera through small streets.

. . . . Metastasiogasse with a corner of Minoritenkirche on the right hand side . . . .

A videw down a narrow street with an opening on the right hand side

All remains the same but lighter and cleaner.

The taxi once again in the dead of night approaching the camera in a small street.

. . . . making the most of the location . . . . . Metastasiogasse again with a clearer view of the Kirche . . .

A videw down a narrow street with an opening on the right hand side

A little off angle as a result of my very dark "crib sheet" print.

  • 'Now' required
A small street at night with a car approaching the camera and a beggar man foreground

. . . . whilst doing his best to have the taxi driver listen to him they continue at speed through the City, St Ulrich’s Platz . . . .

A small street at night with a car close to the camera position

. . . . Schoenlanterngasse at the corner with Sonnenfelsgasse . . . . The location is to be used again at Capture 92

An oblique view of a row of ornate buildings particularly the first doorway and closed balcony above.

The architecture can at least now be enjoyed.

A small dark street at night with a taxi speeding away passing a man with a double bass

. . . . they turn the corner continuing in Sonnenfelsgasse . . . . The location is used again in Capture 88.

A view down a very narrow street with a yellow building at the end.

A little less commercial presence now.

  • 'Now' required
A car speeds along a wide wet road, part of a scupture left hand foreground

. . . . passing the street cleaning lorry down Rennweg 10 (Opposite Metternichgasse) and Salesianerinnenkirche to the right . . . .

  • 'Now' required
The taxi swerves into the entrance of a building between stone gate posts.

. . . . shortly after, the taxi swerves through the entrance to Salesianerinnenkirche but for the film is marked ”Internationales Transprtkontor”.

  • 'Now' required
Looking towards the taxi pulling up at the building on the right hand side

Cutting to the taxi drawing up in the courtyard of what is now a music school and for the purposes of the film, where Holly was to give an agreed talk to the British Cultural Relations Society.

Man running through a series of architectural arches at night.

At the end of his ill-received presentation Popescu sends two “heavies” after him. He runs through a tunnel of arches. Wipplingerstraße.

A view down a arched covered walkway.

There have been substantial changes to incorporate shops and modernise but every so often glimpses of "the old" can be seen.

Holly running up a series of stone steps to a church facade.

Up a flight of steps. Gestade up to Maria am Gestade church.

A flight of steps up to the front of a church and some buildings on the right hand side.

Virtually identical save for the building intruding on the left.

Man running towards the camera down a small street with a square and central monument in the background

He continues his journey up Judengasse from Hoher Markt with the Wedding Monument clearly visible.

A street at its junction with a square composed of buildings with a large central ornate monument.

Judengasse had been re-aligned with the rebuilding.

Once again a man running towards the camera in a small street with a square and large monument in the background.

Holly’s pursers are not far behind.

A videw down a narrow street with an opening on the right hand side

No longer a narrow thoroughfare.

Looking down on a small square, the buildings and a road off at the back.

Having eventually made his way to police HQ Holly learns of Lime’s racket from Major Calloway. He accepts the evidence against his friend and decides to return home visiting Anna to say goodbye. A view from her apartment looking down into Schreyvogelgasse and a man passing a doorway. But her apartment is in Am Hof (Capture 35).

The buildings on two sides of a small courtyard/square and a small road leading out.

From ground level.

From road level a road rises to some building on the right hand side. Holly walking up the slope.

Holly saunters away from the apartment towards Moelker Steig.

A tall retaining wall by a road and the properties on the sloping access road behind.

Once again, from ground level.

A close up of an ornate doorway with a window either side. A cat sits on the doorstep.

The doorway Schreyvogelgasse, a cat, and is that the outline of a person?

A close up of an ornate doorway where Hary Lime is supposed to have stood with the cat at his feet.

The door must have been open for Harry Lime to have hidden there.

The doorway is no on the right hand side with a figure running away towards a street also to the right.

Holly thinks he is being followed and shouts to the hidden figure. He stares when he sees Harry Lime’s face but by the time he arrives at the doorway, Lime has gone and he runs in the only direction possible.

An glansing shot on an ornate doorway and the property as its backdrop.

No hasty movements while we were there.

A deserted street scene with an arch just visible on the right hand side and the shadow of a man on the left hand wall.

He sees the shadow of Harry making his escape. Shulhofplatz off the Am Hof.

A small roadway with many large refuse bins on the pavement next to the wall of a church.

The refuse bins rather spoil it.

Holly appearing from under an arch into a square with a sculpture on the left hand side.

Giving chase he arrives in Am Hof.

A traffic pedestrian archway with an unsightly no entry sign in the left foreground

Was the cherub water fountain always there or just a prop? Certainly not there now.

Holly enters the square and stands by a tall sewer entry kiosk.

Holly stands by a 'kiosk' listening for Harry’s whereabouts. Am Hof. Alison O'Neill advises that the 'kiosk', whether or not a prop, is in fact a Litfaßsäule, a structure that did triple duties: cover to the entrance to sewers, ventilation for sewage gases (similar to UK stench pipes), and advertising hoarding. Further the statues will have been boxed in to protect them from the harsh winter weather, and the boxing she believes would go on at some point in October and be removed in March, but it may vary regionally.

A view across a public square with many parked cars.

It is believed that the Litfaßsäule was a prop as the underground here is a large car park.

Seargent Paine, Holly and Major Calloway stand with the arch behind them.

He subsequently endeavours to convince Calloway that Lime disappeared at about this spot.

A pedestrian and traffic archway with some refuse bins on the pavement the other side.

Forget the old weight restrictions it is now "No Entry".

Major Calloway followed by Sergeant Paine and Holly approach the sewer kiosk in the square.

Suddenly the possible reality dawns on Calloway and they make their way to the Litfaßsäule, an entrance to the sewers. Am Hof.

A view across a public square with many parked cars.

Car parking above and below.

  • 'Now' required
Calloway, Sergeant Paine and Holly descend the spal stone staircase to the sewers

Calloway, Sgt. Paine and Holly descend the steps. It is considered that the Litfaßsäule might have been a prop for there is doubt as to whether sewers flowed because below is now a large car park.

  • 'Now' required
A wide shot a a night exhumation of Harry Limes corpse.

Now strongly suspecting that Lime may not be dead his grave is dug up, only to find the body of Harbin, medical orderly at the local hospital who supplied Lime with the penicillin that he diluted and sold on. Zentralfriedhof (Vienna Central Cemetery).

Holly approaches a building on the left with men dealing with significant bomb damage behind him.

Holly visits Kurtz at his home. Morzinplatz 3 The rubble in the background is the remains of Hotel Metropol used as the Gestapo Headquarters.

The facade of a building on the left hand side, a wet street and tall modern office buildings right hand background.

Another ornate edifice gone.

Kurtz and Dr Winkel look down on Holly from a very ornate balcony.

He tells Kurtz and Winkel that he wants to see Lime, “Are you mad?” Kurtz asks.

Looking up at a first floor window with ornate stone cill.

Even the new building shows sign of attention to detail.

Holly walks away from the building with the Ferris Wheel looming in the background.

Holly is invited up to talk, but he declines and steps backwards, with the Ferris Wheel behind him, he tells them to instruct Lime to meet him at the Wheel. In reality the Wheel is a considerable distance away.

The Vienna Ferris wheel with bare trees in the foreground.

We will probably never know from where that backdrop shot was taken.

Holly stands by a roundabout with the Ferris Wheel filling the right of the picture.

Holly sits by the wheel and awaits Lime’s appearance. Prater.

A glancing shot of the Ferris Wheel Vienna.

More or less the right spot.

Holly and Harry Lime forground with a roundabout and other fairground features behind them.

In due course Harry Lime (Orson Welles) appears.

A general picture of fairground stalls on a wet day.

A general shot from the general area.

Looking up into the metal structure of the Ferris Wheel.

The Ferris Wheel.

The Vienna Ferris wheel up through all the central structure.

Needless to say considerable building work has taken place around the base to frustrate the exact angle shot.

Harry enters the wheel car whilst tipping the attendant.

“Keep the change” says Lime as they enter the car. A studio set included for completeness.

The red and white doors of a car on the Vienna Ferris Wheel.

A real Ferris Wheel car.

A view down to the ground from the Ferris Wheel

Holly challenges Lime regarding the consideration that he has for his victims. Lime likens the loss of “the odd” dot (person) from the view below.

A view down to the ground from the top of the Vienna Ferris Wheel.

More or less the correct area if the main thoroughfare remains the same.

  • 'Now' required
Anna and Sergeant Paine at a station platform barrier with a steam train clearly visible.

After his meeting Holly bargains with Calloway for Anna’s safe passage (she has false papers) in exchange for helping to trap Lime. She is escorted to the station by Sgt. Paine. Südbahnhof railway station.

A view of the cafe with outside tables and plants where Holly is sitting.

Anna refuses to leave when she learns of the deal but Holly continues with the trap after he witnesses the consequences of the diluted penicillin. He waits for Harry at the Café Marc Aure (Created for the film). Southwest side of Hoher Markt.

A double shop front with blue header sign.

A stationery shop at the time of filming but now a restaurant, fortunately the building remains.

From under the cafe's awning Holly views the deserted square dominated by the Wedding Fountain.

Holly keeps looking into the square for signs of Harry. Hoher Markt.

A view across a Vienna square with an ornate central monument

The restored and developed market square.

A soldier standing high on a monument with a sculpture with angels wings

Meanwhile one of the soldiers keep watch from the "Vermählungsbrunnen" (Wedding Fountain). Hoher Markt.

A view through a portion of a large monument showing a fluted pillar and a sculptured stone angel

Notwithstanding the angel I found it impossible to replicate the background buildings.

A narrow deserted street with high buildings either side. Night and wet.

Others are supposedly also watching, Schoenlanterngasse . . . .

A view down a narrow street with a few pedestrians walking away from the camera

As Capture 57, a number of locations were used more than once as part of another sequence.

A narrow dark and empty street.

Judengasse . . . . The location is used again in Capture 96

A view down a street with ornate buildings and cars parked on the right hand side.

A further example of the widened Judengasse.

A deserted cobbled narrow passageway off a road.

Ballgasse . . . .

A covered passageway from a street.

And now, another location to be used again at Capture 98.

A narrow cobbled street leading to a square with central a monument.

Judengasse. Similar to Captures 63 and 64 but further back.

A view from a side road into a market square with a large central ornate monument

Parked cars prevented the correct angle.

One side of a narrow street with a facing building at the end.

Schoenlanterngasse at the corner with Sonnenfelsgass . . . . Location used earlier in Capture 56

A glancing shot of ornate buildings and a narrow pavement.

Pity about the foreground screening.

A corner of a market square at night with a persons shadow showing reflecting on one building and a substantial part of fountain figures to the right foreground.

Eventually a shadow appears watched by Calloway, Paine and Holly. Holly could not have seen this as it is Michaelerplatz, nowhere near Hoher Markt.

A view across a road junction with boarded sculpture immediately right.

Unfortunately this sculpture, like others, was boarded up.

The corner of as market square at night with an old man selling balloons centre.

Followed shortly after by the balloon seller. Hoher Markt. Apparently he was a well known character in Vienna after the War.

A glancing view of a row of scaffolded shops towards a road junction.

The rebuilding cannot have been going on all those years can it?

  • 'Now' required
Harry Lime (Orson Welles) in hat and coat clambers down the remnants of a bomb damaged building at night.

Lime escapes from Café Marc Aurel having overhead Anna accuse Holly of being an informer. In the background is Berghof 4, the other side of Hoher Markt from which he is supposed to be running.

A small figure of a man running towards the camera in a dark and narrow cobbled street.

He runs though Judengasse. Location used again as in Capture 89.

A view down a street with ornate buildings and cars parked on the right hand side.

The second use of the widened Judengasse location.

Harry Lime (Orson Welles) lifts two "V" shaped plates, full foreground, to gain access to the sewer below.

Lime reaches an entrance to the sewers. Karlsplatz and Esperantopark opposite what is now Secession Building.

Hamilton McMurray provides this shot of the sewer entrance that he took in 2009.

A soldier running away from camera in a narrow passageway off a road.

Meanwhile a soldier follows closely behind. Ballgasse. Location used again as per Capture 90.

A covered passageway from a street.

Scaffolded for an RS shot as so often happens.

Harry Lime (Orson Welles) stands on a small bridge that spans flowing sewer waters.

One of many shots in the sewer chase most of which would be very difficult to establish the exact location of, especially as some were studio shots in London.

Hamilton also did the tour back in 2009 and has kindly shared this shot with us.

  • 'Now' required
Against the background of imposing buildings troops lift the access point for them to access the sewers

Meanwhile additional troop reinforcements arrive. Alserbachstrasse and Rossauerlände.

  • 'Now' required
Holly, Anna and a grave attendant stand around the grave of Harry Lime.

Eventually Lime is cornered, unable to escape, he is shot by Holly who has come to terms with his friends activities and Harry is “reburied”. Zentralfriedhof (Vienna Central Cemetery).

  • 'Now' required
Anna walks away from the graveside along a line of ornate graves to her left and trees to her right.

Anna leaves the graveside and seen here approaching the Jugenstil angel.

  • 'Now' required
An imposing close up of an army Jeep driven by Major Calloway with Holly Martin about to board concerned about the time.

With the Jugenstil angel behind them Calloway offers Martins a lift.

  • 'Now' required
Holly Martin bold foreground alights the Jeep with Major Calloway still sitting in the driving seat.

Having passed Anna, Holly asks to be dropped off, he “cannot just leave”.

  • 'Now' required
Anna, centre foreground walks towards the camera down the tree lined cemetery road whilst she ignore Holly Martin whom she has just walked past.

Anna walks on past ignoring him.