The Third Man

StudioCanal's AVC encoded 1080p transfer of "The Third Man" in the classic 1.33:1 aspect ratio offers a viewing experience that, while not matching the revered Criterion 2008 release in terms of video quality, still presents itself as a viable option for enthusiasts and fans. The contrast levels and black depth do not exhibit the same crispness or intensity found in Criterion's version, with noticeable shortcomings in how the darkest shadows are represented, transforming what should be distinguishable details into indistinct shapes. Despite these discrepancies, the sharpness of the image remains commendable, ensuring that the fine details, to a significant degree, are preserved. However, minor digital noise reduction appears to have been applied, which, though not obliterating the film's natural grain, has led to some loss in texture detail, notably in tight patterns and intricate designs such as fabric stitching.

The StudioCanal release is not without its flaws. It bears a higher incidence of visual disturbances like dirt, debris, and scratch lines, markedly more so than what was noted in the Criterion edition. Such imperfections distract from the immersive experience of the film, underscoring the difference in restoration efforts between the two releases. Brightness fluctuation and a diminished capacity to render shadow details further detract from the viewing pleasure, with the omission of subtleties in darker scenes being particularly egregious. Despite maintaining a decent level of depth and avoiding issues like haloing or aliasing to a commendable extent, the treatment of grain and detail has been critiqued. The reduction of grain to achieve a cleaner image has inadvertently led to a lack of definition in certain areas, as evidenced by blurred details in clothing and environmental textures that were previously clear.

In conclusion, while StudioCanal's presentation provides an acceptable avenue for experiencing "The Third Man" on Blu-ray, especially for those unable to access the out-of-print Criterion version, it is beset by issues that cannot be overlooked by purists or those intimately familiar with the superior quality once available. The comparison reveals a significant compromise in video fidelity, which, while perhaps forgivable to newcomers of the film owing to its intrinsic merits, stands as a stark disappointment when juxtaposed against the potential demonstrated by prior restorations. The effort, although earnest, leaves much to be desired, shedding light on the importance of restoration quality in preserving and honoring classic cinema.

The audio quality of "The Third Man" on Blu Ray by StudioCanal features a DTS-HD Master Audio 2.0 track, which provides a commendable auditory experience despite its age. A comparison with the Criterion Blu-ray edition reveals subtle variances likely traceable to the original sources used for each version. Notable within the StudioCanal release are minor volume inconsistencies and a slight compression in the higher frequencies, creating a somewhat boxed sound on occasion. This does not severely detract from the enjoyment, as the film's iconic Karas score retains its emotive power without becoming overly harsh or bright. However, enthusiasts should be prepared for a somewhat limited hiss and a constricted soundfield characteristic of recordings from this era.

Yet, when juxtaposed against the Criterion version, certain shortcomings of the StudioCanal audio track become more pronounced. The replacement of the Linear PCM 1.0 mix with the DTS-HD Master Audio 2.0 does not fare well in comparison, particularly during scenes with heightened volume where distortion becomes evident. Anton Karas' masterful zither playing, while still a highlight, suffers from tinny and screechy renditions at peaks, undermining some of the score's impact. Additionally, dialogue occasionally presents as disconnected from the scene, lacking cohesion and clarity in parts. Background noise is pervasive, sometimes overshadowing speech and critical sound effects, such as the understated clangs during pivotal moments, thus diluting the film’s atmospheric tension.

In essence, while the StudioCanal audio presentation of "The Third Man" performs admirably for its age, notable imperfections and a comparison with the Criterion release illuminate areas where fidelity and clarity are compromised. The presence of audio artifacts like hissing and a noticeable ‘snap, crackle, and pop’ undercurrent further detract from an otherwise solid restoration, suggesting that while acceptable, there is room for refinement in capturing the nuance and depth of this classic film's sonic landscape.

The StudioCanal release of "The Third Man" extras, while not as vast as the Criterion collection, stands out with its unique blend of content. Significant highlights include two HD trailers that provide a nostalgic look back, a unique audio feature "Third Man on the Radio," presenting a 1951 broadcast that intriguingly reimagines Harry Lime as a hero, voiced by Orson Welles himself. The inclusion of commentaries by AD Guy Hamilton, Simon Callow, and Angela Allen offer rich insights rivaling those found in Criterion editions. Additionally, the "Third Man Interactive Tour" offers an engrossing HD journey through 14 Viennese sites with guide Dr. Brigitte Timmerman. Other notable features include a stills gallery, insightful audio interviews from the Guardian NFT with Joseph Cotten and Graham Greene, an alternate opening with Joseph Cotten, and a memorable zither performance by Cornelia Mayer. Though it lacks some of Criterion's deeper dives like full-length documentaries and the Lux Radio Theatre presentation, this collection remains impressive for enthusiasts and newcomers alike.

Extras included in this disc:

• Two Trailers: High-definition trailers of the film.
• Third Man on the Radio: A vintage radio broadcast featuring Harry Lime.
• Commentary: Insights from AD Guy Hamilton, Simon Callow, and Angela Allen.
• Third Man Interactive Tour: A guided visit through Vienna's significant locations.
• Stills Gallery: A collection of production stills from the film.
• Guardian NFT Interviews: Audio discussions with Joseph Cotten and Graham Greene.
• Joseph Cotten's Alternate Opening: A different take on the film’s opening sequence.
• Interview and Zither Performance by Cornelia Mayer: A musical performance related to the film's iconic score.
• An Excellent Essay: Found in the insert booklet, written by Charles Drazin.

The Third Man, directed by Carol Reed and starring Joseph Cotten and Orson Welles, continues to be a subject of fascination and high regard in the realm of classic cinema, much like its protagonist Harry Lime skirts the boundaries of morality and law. As the cinematic landscape evolves, so too does the methodology through which this 1949 masterpiece is consumed, most recently via its passage onto Blu-ray territory through multiple releases, notably by Criterion and StudioCanal. The Criterion edition, praised for its superior transfer that offers inkier blacks and less print damage, has become a coveted item for aficionados despite its now out-of-print status and consequent high market price. In contrast, StudioCanal's offering, while noted for a slightly lesser video quality, compensates with lossless audio and a compendium of engaging extras, including a standout commentary track - presenting a more economically viable option for enthusiasts.

Set against the backdrop of post-World War II Vienna, The Third Man encapsulates the chaos and destruction left in the wake of conflict, channeling the period’s atmosphere through its innovative use of shadow and light, courtesy of cinematographer Robert Krasker. The city, divided among occupying forces yet maintaining a semblance of unity against the despairing landscape, serves as more than just a setting; it is a character in its own right, embedding within it the intricate tales of survival and opportunism that define the era. In this maelic maelstrom enters Holly Martins (Cotten), an American writer ensnared in the complexities of his friend Lime’s (Welles) death - or presumed so - untangling a web of deceit that reflects upon the moral ambiguity pervading postwar society.

The Third Man is not merely a film but an experience, drawing its viewers into a world where every shadow holds secrets and every character dances on the edge of ethical ambiguity. At its heart lies the confrontation between Martins and Lime atop Vienna's ferris wheel - a scene emblematic of the film's probing into the value of human life amidst societal collapse. As we delve into Lime's manipulations for personal gain against the stark, bombed-out aesthetic of Vienna’s landscape, the film transcends its noir label, morphing into a captivating study of human condition and morality. The tactile presence of the city's ruins, coupled with Anton Karas’s haunting zither score, crafts an immersive backdrop for this tale of intrigue and betrayal. Whether viewed through its Criterion or StudioCanal incarnations, The Third Man remains an indelible piece of cinema history, conveying with deft precision the complexities of friendship, love, and conscience in a fractured world.

The StudioCanal release of "The Third Man" on Blu-ray serves as a commendable effort to bring the classic film into the homes of cinephiles without breaking the bank. Whilst it does not ascend to the lofty heights achieved by the Criterion Collection's version, it nonetheless offers a respectable alternative that balances cost with quality. The inclusion of great extras adds value, though it's clear from comparisons that when measured against the Criterion benchmark—known for its extensive and meticulously curated content—the StudioCanal release falls short. This is somewhat disappointing given the Blu-ray format's capacity for excellence, highlighting a missed opportunity to fully capitalize on technical advancements for this iconic film.

Technical and presentation shortcomings aside, the StudioCanal version retains its appeal through affordability and accessibility. It's important to acknowledge that despite not reaching the pinnacle of home video presentation as seen in Criterion's out-of-print masterpiece, this edition allows wider audiences to experience "The Third Man" in high definition. The release has garnered a mixed reputation among Blu-ray enthusiasts, notably due to StudioCanal's previous issues with releases like 'Ran' and 'Breathless.' However, if Criterion's version is out of reach, either due to scarcity or price, this Blu-ray presents a viable, albeit imperfect, alternative.

In conclusion, while the StudioCanal Collection's Blu-ray of "The Third Man" may not satisfy the purists seeking the ultimate home video experience, it presents a practical option for fans eager to own a piece of cinematic history without significant financial outlay. Though it cannot match Criterion's unparalleled dedication to film preservation and extra material, its existence as an accessible option cannot be overlooked. For those on a budget or unable to source the Criterion release, StudioCanal's version is still highly recommended, offering an engaging way to enjoy this timeless classic.