Location shots in Vienna of

The Third Man (1949)

Compiled by W. Unruh with the help of J. Innerhofer and others

Find the locations which I missed.

Some of the links to the official Viennese historical photos have been moved and I have no idea where they have moved to. They seem to have no interest in telling me where. Sorry.

Harry Lime has no Gravestone in the Friedhof Cemetery. (His grave seems to be a path now.) Send suggestions as to what such a gravestone should look like. (Remember that both he and Harbin seem to be buried in the same grave.)

Suggestions: McCrindle

Script- Graham Greene
Director- Carol Reed
Producers- Alexander Korda, Carol Reed, David O. Selznick
Music- Anton Karas
Photography-Robert Krasker (Academy Award)
Editor-Oswald Hafenrichter
Holly Martins- Joseph Cotten
Anna Schmidt- Alida Valli
Harry Lime- Orson Welles
Porter- Paul Hoerbiger
Anna's Landlady- Hedi Bleibtreu
Baron Kurtz-Ernst Deutsch
Dr. Winkel-Erich Ponto
Popescu-Siegfried Breuer
Maj. Calloway-Trevor Howard
Sgt. Paine- Bernard Lee
Hansel young Boy- Herbert Halbik

This film was selected as the best British film by the British Film Institute in 2001. It was shot on location in Vienna, Austria, with most of the interior scenes being shot in the studios in London.

For a synopsis of the film see
http://www.filmsite.org/thir.html or http://www.sims.berkeley.edu/~michelek/Third_Man.html

For a detailed book on the film see "Der Dritte Mann - Wien auf den Spuren eines Filmklassikers" ( Brigitte Timmermann(text), Frederick Baker (photo)) now also published in English as The Third Man's Vienna - Celebrating a Film Classic See also Brigitte Timmermann's web site "www.thethirdman.net

W. Nassau was a photographer cinimatographer and location expert on the film. In 2015 he presented some memories of the time The Third Man, Exciting Events in Post War Vienna

In 2004 Frederick Baker filmed a documentary on the procution of the film. Although somewhat slow and at time very annoying (projecting scenes onto Viennese buildings etc) it does offer real insight into the film. It includes interviews with Wells, Korda, Reed, and many others from the film. Shadowing the Third Man

See also http://www.wellesnet.com/carol-reed-on-directing-orson-welles-in-the-third-man/ for the text of an interview with Carol Reed on the Third Man.

One of the attractions of Vienna for Reed was the destruction from the war. Vienna escaped relatively unscathed compared to many other European cities, but a number of buildings were destroyed when the Red Army captured Vienna in '45 from the Germans. Here is a map showing the buildings which were destroyed It is taken from an out-of-print book Führer durch Wien und Umgebung Publisher: Freytag-Berndt und Artaria (1955) (no author listed), and shows the extent of the damage.

Wolfgang Waiss has a number of short films of various sites mentioned here regarding the current Third Man locations.http://www.film-felix.com/?page_id=5352 He charges about a Euro for permission to download them for personal private use.

I visited Vienna in the summer of 2002 for a month and became fascinated with the film and especially with trying to ferret out the locations which were used in the film. Some, like the Hoher Markt, were obvious, and some like Josefsplatz and Schreyvogelgasse were listed in many of the guide books to Vienna. But watching the movie (it shows in English every Friday and Sunday in the Burg Kino on the Opernring 19) I began to realize that there were other locations used as well.

After I got back from the trip, I bought the Criterion 50th anniversary edition of the movie on DVD, which was recorded from a digitally enhanced and cleaned master of the film. I was surprised that no place on the web offered any of the exterior shots in the film for visitors to Vienna to use in tracking down the locations of the film.

Using a movie like the Third Man as your guide around Vienna offers one a way of looking at the city very different from the usual tourist tour. It makes one highly conscious of details which one might well miss in the more casual tourist process.

For those who want a quick guide to the city, a number of companies offer "Third man" tours. The Vienna Sewer System offers a 20 minute tour of the "sewers" (actually most of the so called sewers in the film are actually the river Wien which flows along the eastern edge of the old city, and which was covered in the late 19th century).
Third Man tours
There are also tours which give one a both a glimpse of the sewer system, via an entrance like the one used by Harry Lime to escape Holly Martins in the famous chase scene, and also around some of the main landmarks from the movie (Josefsplatz, Michaelerplatz, Am Hof, and Schreyvogelstrasse).
Vienna in the Footsteps of the Third Man

I was in Vienna at the time of the infamous rains of the summer of 2002 which flooded most of central Europe. (The picture is of Prague in the Czech during that flood.) Fortunately Vienna was protected by the auxiliary bed of the Danube which had been dug about 30 years earlier to protect it from just such a flood. It worked, but the "sewer" tours were all canceled. Actually, some of the locations of the sewer chase scenes do not exist, but were created in the studios in England. (One story has it that it was because Orson Welles refused to work in the sewers, but others dispute that. See this discussion of the making of the film.)

Below is a list of the locations in the film, with the thumbnail photos. Clicking on the small photo will bring up a full size picture (640x480) of that scene. Also with many of the locations is a picture of the same site in Vienna now. What is astonishing is how little most of the locations have changed in the past almost 60 years.

For more information about the Third Man, and other links see the page

There is a recent film about the Making of the Third Man

Since I only got the DVD after I left Vienna, and since I am not going back there soon, I do not know where many of them were filmed. Many are very distinctive and probably easily found if I were in Vienna. I therefor leave these as an exercise to the reader as they wander the streets of Vienna to identify. If you want to drop me a note at to tell me where the location is, I would appreciate it.

See also the article http://www.rouge.com.au/rougerouge/third_man.html for a discussion of the cinamatography and the use of odd lines and perspectives which give the film part of its disjointed feel.

J. Innerhofer has also been bitten by the thirdman bug, and as he lives in Vienna, spent a lot of time at the end of 2002 and beginning of 2003 finding many of the modern locations in the film. He has found many which I missed, and also has taken pictures of many of the locations, from as point of view as close to that of the film as he could. What is astonishing is how little most of these locations have changed in almost 60 years. He has also made a map with locations of some of the scenes below. The map is labeled with the scene numbers given below.

A Few of the places have also been found by Herb Ranharter the Viennese/Californian artist. http://www.delarte.com/

Also Alan McCrindle has taken modern shots of various locations.

G. Opelt has found a few locations and corrected some location errors I made.

If anyone else has pictures of modern Vienna at the scene of these locations which I could post (max size 640x480) it would also be useful. In any case I hope you have fun matching the vibrant modern city in 200 year old clothes to the scenes from a film made at one of the low points in Vienna's history.

You can get in touch with me at unruh email address (Sorry, because of spam, that address is an image-- you need to type it directly into your email program).

Movie Exterior events


Map of Vienna showing the locations shots for the third man that we have been able to find. The blue circles indicate more detailed maps from the list below.

J Sprung, a Cinamatographer from California has transfered the coordinates of the map sites onto Google Earth. Here is a link to a kml file which you read into googleearth and it puts place markers onto Vienna for all of the locations of the scenes on the map. Download it, save it and then load it into googleearth, or set your browser to automatically use googleearth to render this file. Or just enjoy knowing at exactly which lattitude and longitude the scenes are at.

  • Josefsplatz
  • Michaelerplatz
  • Am Hof View toward North with the Mariasauele To the left is the fire station seen from the front door to Anna's Apt. Just off the screen to the right is the Archway through which Martins chases Lime.
  • Hoher Markt
  • Moelker Bast
  • St Ruprechts
  • Maria am Gestade
  • Neuer Markt
  • Minoretten Kirche
  • Morzinplatz
  • Schoenlantern/Sonnenfels gassen
  • Prater
  • Covered Wien River
  • West Bahn Hof
  • Votiv Kirche
  • Parliament
  • Zentralfriedhof This location is well worth a visit even if you are not interested in visiting Lime's non-gravesite. Some of the monuments are huge and fantastic. The church itself is also impressive from the inside.
  • Beethoven Monument
  • Liszt Monument
  • Justizpalast
  • Reichsbrueke
  • HeimatKino
  • Stephans Dom


    The film begins with a series of quick shots of various famous locations in Vienna. Some are easily identifiable, others are more obscure.


    The Strauss monument in the Stadtpark just near the outlet of the underground Wien river. http://www.vienna.cc/deutsch/strauss.htm


    Parliament. See http://www.hpbuchmann.de/wi05.htm in the top left corner of the building. The carriage is just to the right of the tall pole.


    Location:Beethoven Denkmal
    Monument in honour of Beethoven. See for example http://www.wien.gv.at/ma42/images/beethoven1.jpg


    Location:Reichsbrüke? This is a view from the Reichsbrücke (see 45, 46) to the southwest. See here for a current view. The banks were used as a quay until the 1980ies. The large building in the background is the old storehouse at the Handelskai, nowadays it is used as the Hilton Vienna Danube (http://www.allrez.com/img/imgamhotels/wwk645.jpg) Here is another picture from under the Reichsbrueke of that hotel by Ranharter.

    Vienna was divided into four parts from the end of the war to 1955.
    Occupation Zones of Vienna Whether signs in the film correspond to any of the actual zones I am not sure but they seem to. I suspect many of the signs were created for the film itself.


    Archway through Rathaus with Votive Church in Background. For a modern photo see http://www.hpbuchmann.de/wi18.htm The archway with chandelier is to the left, mostly hidden by the pole. Innerhofer(2002) has also taken a picture from the same location as the film did.


    Innerhofer This is the right wing of Schloß Schönbrunn from the front entrance. Schloß Schönbrunn was used as the British Headquarter in Vienna http://www.vienna.cc/wienpix/schoenbrunn11.jpg(the same part of the palace, seen from the north


    Belvedere-Upper entrance http://www.vienna.cc/deutsch/belvedere9.htm


    West Bahn Hof.


    See 19.


    Innerhofer The pillars belong to the old Salztorbrücke along the DonauKanal. The location is just behind the pile of rubble in picture 98. http://www.wien.gv.at/media-wien/images/blabi17.jpg


    View of the Allegorical Marriage in Hoher Markt From NE side (Judengasse) View of the Markets in Vienna, including Hoher Markt through the ages at http://www.wien.gv.at/ma59/h-innenma.htm


    Stephan's Dom ruin (it burned down in 1945) seen from the SE


    Hoher Markt -Josefsbrunnen or the Allegorical Marriage, or the Marriage of Joseph and Mary from N side. Stephansdom in background. Note the covered hoarding in front of the rubble is not there in the shot of the square ( 113,114) when Lime looks down on it. Cafe Marc Aurel, where Martins will try to trap Lime is off the right side of picture.


    The Ferris Wheel in the Prater (an amusement area in the park between the Danube Canal and the Danube River) where Holly Martins will eventually meet Harry Lime.


    Sign says Inter Allied Command. Note woman on upper right appears to be taking a photograph of the film makers. This seems to be on the steps of the Justizpalast.
    Innerhofer The Inter Allied Command was located at the Justizpalast (palace of justice) to left to the Parliament (Schmerlingplatz) http://www.aeiou.at/aeiou.encyclop.data.image.b/b397245c.jpg the text to the picture: around 1950 change of the guards (USA - USSR) picture of today: http://www.wes.at/images/foto/fotos%20aktuell/justizpalast_wien.jpg

    Lime's Apartment

    Holly Martins, an American pulp cowboy fiction writer arrives in Vienna at the Westbahnhof (West train station) and says he is going to 15 Stiftgasse. He actually goes to 5 Josefsplatz, the building directly across from the national Library (part of the Hofburg). The Josefsplatz square contains a statue of the Emperor Josef II on a horse, and this statue is referred to by the porter elsewhere in the film. That the film gives a different address to 5 Josefsplats, when using the right address would have made no difference whatsoever to the film, is typical of this movie. The reason is unclear. Perhaps they had originally wanted to use Stiftgasse, and this was a leftover of that in the script. Or perhaps the writer and director were immersed in a mood as weird and dislocated as the film itself.


    Josephsplatz 5 (the location of Harry Lime's apartment) with the Arch which is an entrance to Michaelerplatz in the background. The building just to the right of the arch is the Lippanser Museum. A modern view of that front door by Eric Iancovici.


    Location:Palais Pallavicini
    Martins entered into the front door of 5 Josefsplatz, and walks down the lobby, at the other end of which is a set of glass doors leading out onto seemingly another street as emphasized by the people walking by in the film. Those glass doors actually lead to an inner courtyard of the building. Here is a shot today. and here is another


    Location:Palais Pallavicini
    The interior of the building is very opulent, far more so than would be suggested by the building front. The interior of this "Palais Pallavicini" , built in 1783, belies the plainness of its exterior. According to Innernofer, an architectural guide says that when it was built, complaints were made about the plain exterior.


    Location:Palais Pallavicini
    The porter (Paul Hoerbiger), one of the charming minor characters in the movie. This scene includes one of the charming "errors" in which the porter says "He is probably already in hell" while pointing up with his thumb, pause, "or maybe in heaven" while pointing down. The German language edition of the film "corrects" this error by having the porter make the traditional association of place with direction. I suspect that this mistake may well have been deliberate, emphasizing the porter's tenuous grasp of English, while enhancing the feeling of dissociation that the film struggles so hard to achieve.
    Here is a current interior shot of this landing.

    Lime's Funeral

    Holly Martins goes to the graveyard (located in the huge Zentralfriedhof (Central peace garden or cemetery) south east of the city center).


    Martins walks past some graves which recur again and again in the film. The bowed angel in the background is a location of many scenes. The scene with Anna leaving Lime's actual funeral (134b) was clearly filmed at exactly the same time as this scene -- as can be seen from the piles of dead leaves against the grave steps in the forground.


    In the graveyard, almost all of the characters seem to be standing in the same place in their individual shots. In the background of almost every shot, even though the characters are supposed to be well separated (by 100 meters in the case of Major Calloway), is the same dark gravestone marked Ruhestaette der Familie Elchinger (it is at Group 43A, Row 14, Number 16 according to Christopher Turner in an email in Aug 2016). In this scene it is to right of Baron Kurtz. Was this on purpose or was it the only place where they could set up their camera for some reason?
    Here is a current view. How was the church in the background hidden in the film?


    Lieutenant Calloway ( Tevor Howard). Probably a telephoto shot with that same gravestone in the background. The next shot makes clear that Calloway is really supposed to be about 100 meters away from the other characters.Current view Schreiber argues that this is almost certainly a studio reshot, because of the absense of leaf motion, and of any trace of the church in the background, and the very different layout of the grave stones (no white monument to the left of the Elchinger grave, no iron fence, no cross monument) to today's layout.


    Anna Schmidt (Alida Valli), Lime's girlfriend. See the same gravestone behind Anna as behind Calloway in the previous shot. If she were actually standing where the film has her, she should have been obvious in the Calloway shot. Note the branches of the tree covering the top of the stone hiding the cross. Is this an attempt to disguise it? Again the use of the same location for all of the characters probably helps contribute to the sense of unreality of the scene.
    Again probably a studio reshoot for similar reasons.


    Current view


    Very clear shot of the gravestone. Frau Marie Figge and Herr Karl Elchinger are the residents of the grave. The grave is still in the cemetery, now occupied in addition by Frau Josefa Elchinger. The path beside this grave seems not to be there in the film. In fact it is clear, both from these shots and the later shots ( Digging up Lime's grave and finding Harbin 097 and reburying Lime 134, 134a) that Lime's grave is in the modern pathway.
    This grave is located in section 43A behind (Northwest) of the Friedhof's Kirche. This and this are two other modern shots of the grave site.
    In the book, "Der Dritte Mann - Wien auf den Spuren eines Filmklassikers" ( Brigitte Timmermann(text), Frederick Baker (photo)) now also published in English as The Third Man's Vienna - Celebrating a Film Classic, it is suggested that some of the scenes at the graveyard were filmed in the film studio in London, which would explain the lack of the Friedhof church in background. See also http://www.screenonline.org.uk/film/id/591597/ which says the same thing. This would however make the continual reuse of that gravestone completely incomprehensible. The various scenes are supposed to be scattered around the grave, with Calloway being many meters away from the grave, and yet exactly the same headstone occurs in each and every shot. This would be ridiculous if the scenes were shot in a studio. Michel Schreiber has pointed out that in some of the scenes in the graveyard there is clearly a wind blowing (tree leaves and hair moving), while in others, it is not. This would imply that this scene, with no leaf movement, was shot in the studio. The gravestone layout is also different from what occurs in the cemetary.


    See the large Church (Friedhof Kirche zum heiligen Karl Borremaus) This apparent gate through which Calloway walks is actually a set of graves in the row just behind the one in the previous shots. Calloway is actually walking toward Lime's grave (the camera is located at almost precisely the location of Lime's grave). Current view The church was apparently damaged and a new dome erected in 1953 over the old dome seen in the film. Another view of the church from the front


    The imposing monument at the corner of two walkways in the cemetery is that of Heinrich Freiherr von Hess. It is on the main entrance road to the cemetery (Tor 2) and directly across from the memorials to Mozart, Beethoven, Strauss, Brahms, and Shubert. Here is a another current picture


    Calloway invites Martins to drive with him from the cemetery. Mysteriously the parked car has transported itself across the road and facing in different direction (toward the main gate T2 of the cemetary rather than toward the Hess monument.)
    The scene seen through the windows of the car is very different from the scene seen from outside the car. The colouring, the landscape, and density of graves changes drastically between the two. Again, a continuity glitch or a deliberate contributor to the atmosphere?


    See the Irish Cross seen through the window of the car in the background of this scene in the Graveyard. Also note the very white and dense tombstones in contrast with the very wooded and somber shading of the tombstones in the Friedhof. Almost certainly filmed in some graveyard in England and back projected . Why not film the real cemetery and back project that?


    See another Irish cross in background and the almost complete lack of trees and vegetation in the graveyard outside the car.


    In contrast the cemetery they are driving through is full of vegetation and trees.
    Here is a current view along this road.

    With Calloway in Pub


    No idea where this is. May not even be in Vienna. Apparently many of the indoor scenes were shot in studio in London. Is this one?

    Meeting with Kurtz at Cafe Mozart

    After Martins' and Calloway's discussion in the bar, Martins is put up by Calloway at the Hotel Sacher (the reputed inventor of the famous Sachertorte). While going up to his room, Martins gets a phone call from a Baron Kurtz, a friend of Lime's, and they agree to meet at the cafe Mozart. There actually is a Cafe Mozart attached to the west end of the hotel, but that is not the location of the Cafe Mozart in the film. At the time the street around the real Cafe Mozart had been heavily bombed, and now is the location of a memorial to the hundreds killed in the basement sheltering during an air raid, and is also a monument to the treatment of the Jews during the war.

    The Hotel Sacher apparently formed the base for the all of the filming. They put on up to 5 meals a day for the various film crews (a miracle in post war Vienna for the Viennese crews).


    Location:Neuer Markt
    This is not the real Cafe Mozart which is just W of the Hotel Sacher. rather it was filmed in the the Neuer Markt, but the Donnerbrunner which dominates this is not visible to me in the film frames.

    Innerhofer Yes it is Neuer Markt, you can see the tower of the Stephansdom on the right side.The Donner Brunnen was partly destroyed by bombs, but you can see it to the left of the lamp post (with the clock). It is covered with wood (as is always done during winter) Here is a view of the Neuer Markt in the winter of 2003. Note how little the square has changed, and that the Donner Brunnen is again covered.

    Herb Ranharter has pointed out that the three windows on the building on the left side of the picture just above Cotten's head is the Kapuziner Gruft on the Neuer Markt. Ie, the "cafe" seems to be just outside this building.


    Compare Joseph Cotten's right ear with that of the person in the car sucking his parrot bitten finger in the ruined car in frame 071.

    Kurtz takes Martins back to Josefsplatz to show what happened in the accident which killed Lime. The discussion take place in the real Josefsplatz around the statue of the Emperor Josef where "Lime" was laid. Here is a current view of that statue just outside the door of 5 Josefsplatz. After that Martins has further discussions with the porter.

    Erik Iancovici has raised the issue of Lime's car driver. Martins talks to most of the people at the accident site, except for Lime's driver who was supposed to be the one that actually killed Lime. He is mentioned and then forgotten.


    Note the address of 5 despite the fact that Martins had said Lime lived at 15 Stiftgasse when arriving at the Westbahnhof. The real Stiftgasse lies about 200 yards west (just a block west of the new Museums Quartier).
    Here is a current picture of that doorway. And this is another with today's (rather better dressed) porter guarding the door.

    Porter at Lime's Apartment

    Martins goes to see Anna act in a play and talks to her afterwards. They go from the theater to Limes apartment, where Martins tries to get more information while Anna wanders familiarly throughout the apartment. [ William Kellner has reported that the lead actor in the play in which Anna acts at the Josefstadt theatre was Karel Stepanek, who later made many films, including the role of Admiral zur Zee Lutgens in the film "Sink the Bismark".]


    This interior of Lime's apartment has a view out the window which seems to face onto a very near wall of the next building. The Josefsplatz actually fronts the building and the nearest other building is about 50 meters away.


    The scene through the glass of Lime's window looks nothing like the scene on Josefsplatz. The Bibliotech would be outside any window across a large square (Josefsplatz) and about 50m away. Instead we see two well kept buildings facing each other with the left one have a high church tower. The well kept nature of these buildings seen through the window seem at odds with the rather decrepit look of the two buildings seen in the next shot out the window.
    Innerhofer I found a church with a very similar tower (Schottenkirche at the Freyung) http://www.museum.vienna.at/images/Restitution/70420_gross.jpgbut it has to be another tower: the tower in the movie has a real window and it is impossible to see the Schottenkirche like in the movie.


    While talking to the porter, Martins looks out the window to this scene. Again, the view Martins gets of the street out the window is not that of Josefsplatz. This location is reused later in the film (See figure 053) supposedly very far from the apartment.
    Innerhofer has found the location in the Ledererhof just off Am Hof. This is also where location 049 was shot, but facing to the west rather than the North. Here is a current shot of the scene.

    Anna's Apartment

    Anna and Martins now go to her apartment, where her land lady (brilliantly played by Heddy Bleibtreu) is wrapped in a comforter and is complaining constantly in German how the presence of the police is bringing down the reputation of her building.


    This is almost certainly the building on the NW corner of Am Hof. In the background is the main portal of the Central Fire Station of Vienna, with its double Eagle on the facade and the two shield/armour piles on the upper pediment. See http://www.wien.gv.at/feuerwehr/icons/hof1.jpg or http://www.wien.gv.at/feuerwehr/icons/hof.jpg
    Note that the time is approx 7 (or perhaps 25 to 12). on the clock on this central fire station front. Here is a current shot from this location. Notice that the clock has been removed from the Firehall.
    They meet another of the wonderful minor characters, Anna's landlady, played by H. Bleibtreu, who plays all her scenes wrapped in a comforter and complaining "When I imagined the Liberation it was very different".
    Bleibtreu, the doyen of the Vienna National Theater, was flown to London to film some of he indoor scenes. This, at age over 80, was the first time she had ever been in an airplane.


    Martins and Anna look up at the window of Anna's apartment.


    This is a few seconds after the scene in 041, but the time indicated by the clock is now either 5, or is it 25 after 11. Note that while the previous shot of this facade was in focus, this shot has been filmed with that clock badly out of focus. Was this to make the time discontinuity less obvious? There seems to be a road way or portal through to the left in front of the fire station as a car turns to the left and seems to drive through. Today the building running away from that double eagle frontage has huge closed wooden doors behind which are the fire engines. Were these open portals connecting Am Hof with Tiefer Graben in 1948? According to Innerhofer, the main firehall was destroyed during war, so such a connection in 1948 was possible. Here is this scene today. Note the extensive changes which have been made to Anna's building.

    Dr Winkel's Home

    Martins finds Kurtz playing violin in the Casanova Club (6-8 Dorotheer gasse), and also finds Popescu, another of Lime's friends present at his death.They tell him about Dr Winkel, Lime's physician, who arrived after the accident. Martins goes to find Dr Winkle. [The Casanova Club was still there as recently as 2006, but even the name has now disappeared from the building. It was on the north side of the street, just off Graben, right next to the old and very funky Cafe Hawelka.]


    Location:St. Ulrichsplatz
    This entrance to Dr Winkel's house seems to have nothing to do with the building he takes his bike out of in the next picture. But note the bicycle. Innerhofer suggests that it is at St Ulrichsplatz 2 which is across the city (off Borsegasse)from the house in 045a.


    While Anna is interviewed by Calloway in the International Police station, Martins waits outside on a corner. The 71 tram on a one way street (ie, the tram traveling to the right is also on the left or center of the street) which would probably place it at the corner of Schellinggasse and Schwarzenbergstr. The tram no longer runs along this loop.

    Conspirators and the Suspension Bridge

    The next day, after Martins has spoken to Winkel, and has met Kurtz and Popescu at the Casanova Club, the conspirators (we see Winkel ride out on his bicycle, and Kurtz and Popescu striding out) meet on a suspension bridge apparently over the Danube. None of their homes look like the entrance to Winkel's which we see in 044.


    This is Winkel setting off from his house. In the background is the Maria am Gestade church where a number of future scenes ( 067, 069, 084, 086) take place. The low wall just across the street in the background is the wall against which Martens is standing when filmed reacting to the first sight of Harry Lime (084 and 086).
    The location seems to be on Boersegasse just at the corner with Tiefer Graben.

    The relation between Kurtz and Winkel is probably supposed to be a homosexual one. Kurtz is seen holding the little dog at the graveyard at the beginning. Then Winkel has the dog in his house and claims it as his. Winkel here comes out of Kurtz's house. Later, Martins finds Kurtz and Winkel together in dressing gowns in Kurtz's house.


    The conspirators meet on the suspension bridge. Note that there are four in the group. Harry Lime is presumably the one second from the right.
    Innerhofer the Reichsbrücke (Bridge of the empire) was the only bridge across the Danube that was not destroyed during WW II. During the Russian occupation the bridge was called "Brücke der Roten Armee" (bridge of the red army). It was build in the 1930ies. On August 1 1976 it collapsed. http://www.wien-vienna.at/reichsbruecke.htm or here
    The church in the background is usually called Kaiser Franz Josef Jubiläumskirche, it was build in 1898 for the 50th anniversary of the Emporer (offical name "Kirche Heiliger Franz von Assisi") http://www.wes.at/images/foto/fotos%20aktuell/mexico.jpg or here
    The bridge was rebuilt but not as a suspension bridge. Here is a current view.


    See the four men (tiny) on the bridge with the second from the left with a light coloured coat. He was the one (presumably Lime) the other three meet on the bridge.


    Martins makes an appointment with the Porter who is willing to talk later that evening when his wife is out. Michel Schreiber points out that the window the porter leans out of is not that of 5 Josephplatz but of the Bibliotek across the square from Lime's apartment.

    That night Anna and Martins go back to Lime's building to talk with the porter, and find he has been murdered. A small child (Hans) accuses Martins of the murder, as he had seen Martins and the porter arguing.

    Chase by Small Boy


    The child having accused Martins of murder stands at the corner of Josefsplatz and Braeunerstrasse with the Hofburg on Josefplatz in the background. Current view by G Opelt (thanks to Opelt and Foda for correcting me)


    Martins and Anna flee down the stairs under the St. Ruprechts Kirche, about 2km away from Josefsplatz very near the Danube canal. This is the scene today.


    While Anna and Martins were seen to go directly from Josefsplatz to the Ruprechts stairs, the crowd following the child is seen crossing an intermediate square. The square looks like Drahtgasses which runs off the NE corner of Am Hof. In particular, the building in the background seems to be the front entrance to Anna's apt building. (See the diagonal "ladder?" across the left front of that building. This will appear again in the Am Hof kiosk scene ( 087). Notice also the "Kiosk" behind the car in the back square which is the kiosk into which Harry Lime disappears in ( 091-096)

    This location is the same as that in 040 and 053, just looking toward Am Hof, rather than up Ledererhof. See the current location picture. The space in front of the postered wall in the film has been filled with a building today.


    This is one mighty fast child. Again it is leading the crowd running down these steep ruined stairs of St Ruprechts Kirche. Note that these stairs today are narrower. Also the wall of the building to the left of the stairs which contained the Maler advert in the film now has a large picture of St. Ruprecht on it as St Ruprechts Kirche is the church at the top of the stairs. Current view by G Opelt


    Martins and Anna run into a theatre to escape the crowd.
    Innerhofer :the Cinema was called "Heimatkino", today there is a theatre (Schauspielhaus Porzellangasse 19) The yellow sign above the door says "Kino ausgang" and seems to be a remnant of the old cinema.
    The movie playing while they try to plan their next move is Maresa, a popular film at the time about the Vienna Lippizzaner Horses. (from Hans Berndorfer).


    Location: Schauspielhaus
    This is the ticket counter for that theater.


    Martins looks out and sees his nemesis, the lone child coming around the corner. This corner is precisely the one that Martins saw looking out the window of Lime's apartment(040). It seems they have run right back across Vienna to Lime's apartment:-) Current view by G Opelt

    After leaving Anna in the movie theater, Martins goes back to the Hotel Sacher to get a taxi to take him to Calloway. A taxi is waiting for him, and sets off on a hair-raising ride through the streets of Vienna. A whole sequence of scenes flash by.

    Taxi Ride

    Here is a map of the various locations along the taxi ride made by G Opelt. They show just how wild the taxi ride really was!


    These taxi chase scenes are very rapid glimpses of a number of street scenes in ruined Vienna. This first one is obviously outside the Hotel Sacher. At the end of the block is the Opera and the location of the current Monument against Fascism across from the real Cafe Mozart.


    The blurred panning shots of the taxi racing by through the Hoher Markt are taken from the same location as the shots from the Cafe Marc Aurel when Martins looks around the square (102). This is far away from the Hotel Sacher.


    Location:Minoreten Kirche
    I did not know this scene whose only identifying feature seems to be the statues as doorposts on the left hand building, and the arches to the right. However, Innerhofer identified it as the Minoretten. The street in the front is Abraham a Sancta Clara Street (hard to find in a map) it connects Minoritenplatz with Bankgasse http://www.vienna.cc/wienpix/minoriten1.jpg This picture is from Metastasiogasse, the scene in the third man shows the left edge of the church (arcades!!) And Here is a current view.


    London? Notice through the rear window of the taxi the long closely spaced string of double globe street lights. No such lights are shown anywhere along the route the taxi takes. The interior scenes of this taxi ride may well have been filmed in London. (In a later scene with Martins, Calloway and Paine in the jeep after the hospital scene, there is a suggestion of a London double decker bus seen in the background of the drive.)


    This is clearly the same corner as in 055 but from a slightly different shot.(See the church arcades to the right, and the style above the windows of the building in the background.) This corner is reused in one of the final scenes in the film. (see 131, 133 below) And here is a is a current view.


    Location:St. Ulrich's Platz
    The style of the tower on the building in the background, and the street sign just above the bum's shoulder might give clues as to where this is located.
    Gerald Opelt writes: " The location of picture number 57 is Ulrichsplatz (left you can see the wall of the church). Source is The Third Man's Vienna - Celebrating a Film Classic ISBN: 9783-9502050-1-5 (www.shippenrock.com) but I also have checked it!" Here is a current view taken by G Opelt
    This places it right beside Dr. Winkel's home, and, as expected, is totally disjointed from the rest of the taxi ride. (If one imagined that the ride was real, it really was the Taxi ride from Hell, especially since parts occur in London)


    The clock, or sundial on the tower behind the taxi seems the only clue to this shot. This is almost certainly Schoenlaterngasse (see 104 but in the opposite direction) Here is a current shot G Opelt


    This seems to be the identical street to that in 058 but with the camera now located where the car is in 058 (See the sign, Special Weinhaus on the left in 058 but on the right here. Opelt Identifies this as Sonnenfelsgasse, at the corner of Schoenlanterngasse. The two "Weinhous" signs are on the two edges of the same shop at 17 Sonnenfelsgasse. 104
    Here is a current view G Opelt
    Notice the person on the street. What in the world is that man doing lugging a double bass out of its case through the night streets of Vienna? Here is a brighted version of that picture making it clear that actually is a double bass. While the scene flashes by very rapidly in the film, this incongruity probably registers subconsciously on the viewer-- or the director was just having fun. This scene has been misinterpreted as a "goof" with the double bass neck being mistaken for a sound mike boom (the nutbox of the double bass looking like a microphone hanging over the street).
    W Nassau says that finding a character like this on the streets of Vienna was nothing unusual-- the musicians would lug their instruments from Heurig to Heurig, and this musician would probably be too poor to afford a case. Reed was very open to grabbing the opportunity to involve unusual people into the film when he came across them.


    This street is at the entrance to the Salesianerinnenkirche (see 061)(Innerhofer) Note the truck in the background wetting down the streets to give them the black, reflective look Reed wanted. Here is a current shot of the street. The statue was probably placed there just for the film. At least it does not seem to exist today.


    The church to the left should make this location easy to find. I did not know it however.
    Innerhofer This is about two house to the left of 060 the Kirche des Ordens der "Heimsuchung Mariä" (called Salesianerkirche) http://www.kidsweb.at/wienweb/landstrasse/images/heims6.jpg


    Location:Music School
    This courtyard is probably impossible to identify uniquely.It looks too much like any other courtyard in Vienna. Note the strange situation. In both 061 and here there is no hint of rubble anywhere, and yet after the lecture, and Martins' clamber up the stairs, being bitten by a parrot, and climbing out a second story window, finds himself on a huge area of rubble for him to clamber over.
    And despite my doubts, Innerhofer has made an identification. This is the inner courtyard of the building in 061 This building is now a Music school so can be entered. The film camera position was inside a passage way which was closed when this picture was taken.



    See the putative entrance to the stairs on the left, although whether this is the circular stairs in the next shot is very unclear.


    This is a wonderful set of stairs. I have found a similar set in the Hotel Mondial on Alserbachgasse about 2km to the NW of the city center but they clearly differ from the film's stairs. Willie Nassau remembered it being somewhere around Judenstrasse or Bauenrnmarkt, but I have not been able to find it. If it still exists it is clearly inside some house or hotel or office building.

    Chase by Thugs


    Identifying a heap of rubble seems impossible.


    This set of arches is hard to identify but there exists a very similar set on Wipplinger Strasse just off the Hoher Markt.


    These are the steps leading up the Gestade to the Maria am Gestade church. Note the shape of the church and its reappearance in 084.
    Here is a current view


    The location of this rubble is almost impossible to place.


    This is a long shot to the Maria am Gestade church. Note the building with the Lebensmittel sign to the left. This crops up again in 086
    Current View


    Again the location of this car wreck is impossible to know.
    Innerhofer:Today i noticed that there is a church in the background of 070. (you can the a crosses on the top) I think that this is the front of Maria am Gestade. The camera location would be at the corner Neutorgasse/Heinrichsgasse. Look at 070-current the yellow house on the right side seems to be the one above Holly (look at the corner).


    Compare the ear of "Martins" in this shot of him in the car, with that in 072 and in an early scene of Cotten in 036. It is not the same. This is probably a double, and thus the finger in the mouth to hide the fact. Why the double was needed here is unclear since Cotten takes his place in the next shot. John Sprung (Associate Member of American Society of Cinematographers) states:
    What seems most likely here is that Reed didn't get enough coverage shooting with Cotten as Martins, and the next day the editor told him that there was a problem. He may even have looked at a rough cut. The idea is that Martins shakes the thugs by hiding. To show that, we really need a passage of time cutaway. To stay on schedule, they couldn't go back another night with Cotten, so Reed probably sent a second unit with a double. Even so, what the second unit did doesn't sufficiently show the passage of time, and this is perhaps the clumsiest moment in the film.
    Also, when in this chase did Martins have time to make himself a bandage?


    This is almost certainly Cotten again.


    He is running away from Hoher Markt and the Marriage statue probably up Judengasse. Judengasse seems to have been differently laid out at that time. The house on the left is North East of that Anker Building. It seems to have been torn down during the reconstruction of the Hoher Markt in the 50s, and Judengasse straightened out to run right alongside the Anker without the jog to the Northeast that seems to have been the case in '48. In the background to the left of the Marriage statue are the three ruined arcades visible in 113 toward the right of the picture. Current view by G Opelt

    Cat and Doorway

    Having escaped from Popescu's thugs, Martins goes to see Calloway, discovers that Lime was a dealer in adulterated penicillin, and responsible for the death and destruction of a large number of people. He decides to give up and visits Anna to say goodbye. In the room is a cat which apparently would only warm to Lime.


    The cat seems to change through the various scenes. Here is the first shot on the bed in Anna's apt.


    And just leaving the room.


    This is the shot down onto Schreyvogelgasse from what is supposed to be Anna's apt. The apt here seems to be on the third (European) floor. Note the complete absence of any statues anywhere along the wall of the road as it rises.


    The cat comes down out of Moelker Steig, toward the camera in the window of Anna's apt. How did it get there down a sheer drop from a third floor apt? Here is view down this sidewalk today



    In this shot the cat definitely seems to have changed its stripes.


    Again the bareness of the scene here is obvious. Lime has disappearing into the doorway. In fact he almost certainly does not exist since as we will see the doorway is not deep enough to hide him. Today, this area has changed hardly at all. The sign above the shop on Moelker Steig has changed and that is about it. Here is a modern view up the street. and this is a modern view of the doorway.



    Note how deep the doorway appears to be here. Here is another current view of the now shut door.


    Martins leans against the wall, and there is no statue behind him!


    The cat and the legs are all one sees.


    Having seen Harry Lime's face, Martins stares in shock. But he should be shocked as he has been transported to the Gestade with the Maria am Gestade church in the background, with some statues hiding the staircase. Why in the world Reed felt the necessity to do this-- to introduce a totally disparate scene here to give Cotten his reaction-- is completely obscure to me. The statue is still there.


    Suddenly the doorway has a brick backing alcove. Where has this come from? Certainly in the photo 081 there was no suggestion of this bricked up alcove! Furthermore, in photo 081 the door frame on the right has decorations which extend down to the top of Lime's head-- they are missing here. It is very possible that these closeup pictures of the door with Lime were not taken in the doorway on Schreyvogelgasse.


    See the Lebensmittel sign from 069 in the background.


    As in the Harry Lime illumination shot (085) this doorway is a bricked in alcove. It is not clear that this is even in the same location. The door frame in 081 has decorations which come down to the level of the top of the window grill on the left of the door. There is no evidence of those decorations here.


    And in this shot there is no hint of the bricked in alcove.

    Chase of Lime

    Martins chases Lime.


    The pursuit is now in the Shulhofplatz just off the East side of the Am Hof. The Archway on the right leads to Am Hof and the wall against which Lime's shadow is cast is the wall of the 9 Choere der Engel church.Here is a current view of this street. Note that the windows of the church have changed little.


    Today, the archway is still there, but no cherub with basin is. It may have been a prop for the film, as it keeps moving in the various scenes. Current view by G Opelt



    Martins finds the square empty, except for a large kiosk. The next two shots are to give a feel for the size of this. In this shot you can see the "9 Choere der Engel" church in the background. Current view by G Opelt


    The kiosk is at least twice his height, making it over 12 ft high. The key reason for this seems to have been to hide the large statue, the black Mariensaeule (Mary's pillar) which in reality dominates Am Hof. The camera angle is designed so as to have the kiosk hid the main part of the Mariensaeule. The base stairs of the statue are visible along the sides at the bottom of the kiosk. (see 096).
    If you brighten the scene, you can also see the tall black pillar of the statue extend above the top of the kiosk, partially obstructing one of the windows of the house across the square. The cameraman has brilliantly hidden that top of the pillar statue against the dark of the roof and of the sky.
    Note that the camera pans back to allow Martins to come to the cherub basin and splash first himself and then the cherub with water from the almost full basin. But this would have been impossible. From the camera shot of the kiosk, the statue and the buildings across the square, the cherub must have moved about 30 feet out into Am Hof when Martins splashes in the water. The shot would be impossible from where the statue is located in the entry shot ( 090 and 093) to get the angles on the statue and the buildings.
    This kiosk is probably a movie prop. Here is a picture of the Am Hof today from the point where the film shot this scene. However entrances to the sewers are hidden in such kiosks elsewhere in the city. One is along the (buried) Wien river at Beethoven's Platz, and is used by some of the Third Man tours as their entrance to the river. It is also probably the place where Calloway, Paine, and Martin's entrance down the stairs (just after the scene in 096) was filmed. In this scene also look at the building across the square at the right. Although in shadow, the diagonal across the left front of the building is the same as in the child chase scene 049. Also this is the building which had the front door to Anna's apt building in scene 041 and 043.


    The basin of the cherub has mysteriously emptied itself.


    Notice that Calloway is staring directly across the square from the entry arch. But that cannot be where the kiosk is located. In the entry shot for Martins into the square, he enters to the NE of the pillar statue and the kiosk. But Calloway is staring to the NW, not SW as he should be.


    This is clear view of that kiosk. Above just to the left of the top knob one can just see the statue covering the window on the rooftop level of the building across the square. About one third of the way up the pillar box can be seen the stairs at the base of the Mariensaeule. Is this kiosk simply a prop which Reed placed in the square (see also 049) or was there a sewer entrance in 1948 in Am Hof? (Today there is none, and below the square is a large parking garage.) In 1890 (http://www.wien.gv.at/ma59/images/hof890.jpg) there seems to have been a tall kiosk (with fancier top and perhaps further into the square) there, but whether it was there in 1948 I do not know.


    Note the lighting inside the kiosk to suggest that stairs would go down. In fact there is no sewer there, (now the square has a large parking garage underground, and no kiosk.) The kiosk was probably a prop, as was the cherub basin.

    Harbin's grave

    Calloway now suspects that Lime may not be dead, and they dig up his grave. and find the body of Harbin, one of Lime's confederates and the procurer of the penicillin which Lime diluted.


    Once again notice the Ruhestaette der Familie Elchinger, which shows this really is the same grave again.


    The Russians decide that Anna was really from Czechoslovakia and belongs to them and send four police to pick her up. [Again a great scene with the Landlady and the four soldiers display their nationalities by how they treat Anna.] Anna has been picked up by the police and driven to the police station. She is escorted up the stairs of the international police station where Holly Martins was waiting for them. This appears to have been the stairs inside the Palais Auersperg. (confirmed by Foda).

    Kurtz's House


    Martins calls at Kurtz's house, which is a very impressive building. The pile of rubble in the background is the remains of the Gestapo Headquarters (Hotel Metropol)
    Innerhofer It is the house at Morzinplatz 3. The building is still there but the facade was destroyed (or how you could name something like this) without any reason in the 60ies. The building is on the cover of a book "Wien Stadtbildverluste seit 1945" (Losses to the Vienna Cityscape since 1945) http://www.gbl.tuwien.ac.at/_docs/entwerfen/archiv/id/ort/images/detail3.jpg is a current picture of the scene. The left building is Kurz's house, while the modern building on the right is at the place where the Metropol was.







    The intimation that the huge Ferris wheel is just next to the Kurtz apt is not correct-- they are separated by a river and many kilometers. Here a view from a similar location today. Note the change in the trees.

    The most famous scene, the Ferris Wheel meeting between Martins and Lime which ends with the cuckoo clock speech, occurs here . In English, the speech begins: " As the fellow said: Under the Borgias..." However in the German version this is altered to read "Wie Mussolini gesagt hat: Unter den Borgias...". I.e., the origin of the speech is attributed to Mussolini, instead of "the fellow". In my mind this weakens the speech, and it is also not something Mussolini is likely to have said. Here and here are pictures taken out of the cars of the current Ferris Wheel. Notice that the shapes of the cars have been modernised. However, Lime's words, about the people looking like ants, would be as chilling today as then.

    Cafe Marc Aurel and Trap for Lime

    After the meeting with Lime, Martins first tries to bargain with Calloway for the freedom of Anna in return for betraying Lime.


    [In this scene between Martins and Calloway we have one of the subtle bloopers in the film. Calloway lays down a file with Lime's pictures on it. But the text is a Cinematography file with Cast and Crew, and Script Report as headers. The date is 4-3-48. Since shooting for the Third Man started in Sept 48, this must have been a spare sheet lying around. This "blooper" was pointed out to me by John Sprung.]
    However when Anna finds out about the deal, she refuses, so Martins wants to leave Vienna. He again agrees to betray Lime after seeing the consequences to children of Lime's diluted penicillin.


    The trap is set for Harry Lime. The Cafe Marc Aurel is on the SW side of the Hoher Markt. Today it seems to be a stationary store, if I have the sight angles right. The building on the SE end of the square, and on the NW both were, as seen in the film, destroyed. The current building replacing them are supremely boring examples of architecture, only slightly better than the rubble they replaced. Here is a current view down the square. Note that the setback in the film from the Anchor building to the left of the statue was part of the destroyed building which has now been replaced. The Cafe Marc Aurel is the building at the far right of this picture behind the repair works. Current view by G Opelt in which the works hordings have finally been taken down. The Papier shop is the Cafe Aurel in the film.


    One of the soldiers is stationed on top of the platform where Josef and Mary are being married. Why he is not visible when Lime looks down as in 113 is a mystery. For a modern view of this scene from almost the same angle, see http://www.vienna.cc/deutsch/hoher_markt.htm


    Location: Schoenlanterngasse
    There is a set of 5 street scenes which are supposed to represent all the streets that the soldiers etc are watching in wait for Lime. Most of these I do not recognize.-- This street has been found by the artist, Herb Ranharter. (See 058 )


    This seems to be the same as in 073 from the opposite direction. See especially the pattern of the doors on the right side here. This is also the same street that Harry flees down in 118. Current view by G Opelt


    This is the same street which the taxi drove down in the scene 058 and is thus almost certainly Sonnenfelsgasse at the corner with Schoenlaterngasse.


    This is a shot of that soldier on that Marriage monument platform again.

    While waiting for Lime to walk into the trap,everyone suddenly see a shadow against a building.


    Note that this building,proclaiming itself as "Alte Hofapoteke" (Old Imperial Pharmacy-- Hof means a courtyard but in Vienna Hof refers to the courtyard of the Imperial Palace.) gives the hint that this building is not anywhere near the Hoher Markt. Rather it is on Michaelerplatz just through the arch seen in the views of Lime's apartment entrance. The statue in the right edge of the frame is part of the Power on the Seas statue on the left of the entrance to the Hof Burg. The building on which the shadow is projected is the Stallburg, part of the Hofburg, and now the museum of the Winter Riding School (Lippanser Museum), as well as the pharmacy. Here is a current view by McCrindle of the statue, and the side of the Stallburg and here is another view of the same place.


    Notice that the hat of the balloon man does not have nearly as broad a brim as the shadow hat had, and the balloons apparently cast no shadow at all. Furthermore, notice that the balloons are on a long string, and are apparently all opaque round balloons. The number is large (>25 visible).


    The balloon man has seen the people waiting around the statue, and comes to sell them balloons. Suddenly the string has grown much much shorter, and the number of balloons has decreased to about half, and including a number of long sausage balloons. The beard has grow, and the walk and bearing of the balloon man has changed.The balloons all seem to have designs on them, even though when Sgt Payne buys one he gets an opaque non-design balloon.
    Also note the side awnings on the Cafe Marc Aurel in the background which would have made it difficult for Martins to look out the windows and see the statue. Here is a current shot of this scene. Unfortunately what was the Cafe Marc Aurel is undergoing renovations. It is currently ( and was also at the time of the film) a Stationary shop, and the Cafe was created for the film. Current(2008) view by G Opelt a with the renoations gone.
    Note also the drastic change to the building at the end of the square from frames 110 and 111. In those shadow shots, the wall had large spaces between the windows onto which the man's shadow could be seen, and was a three story building. Suddenly that end buildings windows take up the whole of the wall, making any shadow hard to see, and the building itself it more than five stories tall.

    This balloon man was a well known character in Vienna after the war, and was called either "Wurzelsepp" (a somewhat derogatory term) or "Very Much Obliged" (one of his few phrases in English) by the people in the American Library in Vienna, where he would often spend his afternoons [contributed by Hans Burndorfer].


    This is Lime's view of the Marriage from high on the ruins of the palace on the NE side of the Hoher Markt. Here is the picture of that north side at the beginning of the war (Palais Sina to the left and Wimpffen on the right along Judengasse) These were provided by K. Kospach .
    Note the absence of any soldier on the platform, the absence of the balloon seller, and the sudden presence of a host of horse drawn carriages from Limes viewpoint. Note also how brightly the statue is illuminated, though it was very dark when those soldiers clustered around it were seen. In those shots the square was also empty. Across the square and to the left of the Marriage Statue are the three ruined arcades visible in the pictures taken of the Statue down Judengasse.


    He is clearly across the square from the Cafe. ( Current view by G Opelt Note the ugliness of the buildings the ruin was replaced by.) In the next scene however Lime enters into the back door of the cafe. How did he get over there?


    Lime comes into the back door of the cafe, where he sees Anna and Martins and discovers Martins' betrayal. Just about to shoot him, Lime must flee instead as Paine sees him through the cafe door.


    Location:No.4 Berghoff
    Again, a huge mound of rubble.-- Kurt Kospach has identified the building in the background as Berghof Nr. 4 It is of course on the opposite side of the Hoher Markt from the "Cafe" he was supposed to have run out the back door of, but is at least close by.


    This is at least the correct side of the square, as the Marriage can be seen over the rubble and the Anker building is almost certainly the extant building seen to the right over the rubble. This places Lime to the SE of the Hoher Markt (and on the other side from 115).




    Judengasse? This is the same as 105 and 073


    Lime flees down the stairs near St Ruprecht's Kirche.

    Sewer and Tame Rat


    and ends up at this entrance to the sewers. The Sewer board of Vienna offered tours until 2002 which enter the sewer through an octagonal petaled entrance like the one Lime uses, although the current one is aluminium, while the movie one seems to be painted steel. This modern entrance is just across the street from the Secession Building near Karlsplatz. The tree seen here beside the entrance is still there (bigger) at that entrance. Note that this is in the opposite direction from the Hoher Markt than the St Ruprecht's stairs down which Lime runs to get to this entrance.


    -- found by Herb Ranharter.


    The lighting in the sewer is weird. Actually this is not the sewer. Rather it is the portion of the River Wien which was covered in the 19th century. It is emerges again at the entrance to Stadt Park, and in this picture Lime is clearly running toward that exit of the river, toward the light coming in from that opening for the river. This is of course strange since he clearly began the chase at night. (Note that the scenes where people climb down stairs to the "sewer" without lights is highly idealized, as when I climbed down, it was pitch black without a flashlight).


    Suddenly that light at the end of the tunnel has disappeared. Is Harry running away from that exit now, and also on the far side of the river? Has night suddenly fallen ( although that whole trap was set at night, in which case where did that light from the tunnel's end come from in 122?)


    When Holly Martins follows Calloway and Payne into the banks of the Wien, an obviously tame rat can be seen at his feet. This rat is clearly in no hurry to get out of the way, and finally slowly moves toward the walls of the stream.


    But after a camera cut, the rat is back toward the middle again, and again is in no hurry to move away from Martins' feet splashing right beside it. Lightened version to make rat clearer


    Lightened version to make rat clearer


    Lightened version to make rat clearer


    There are two places where the sewer police enter octagonal entrances to the sewer. This is the second ( the first was the same place where Lime entered). Note the building in the background, with what looks like "POKORNY" on the side).
    Innerhofer suggests this entrance is just outside Alserbachstrasse 40. This is across town from the covered River Wien which Lime runs through. Alserbach was another stream (Bach) running through Vienna (eg, on maps from 1760) which was covered over in the late 1800s.

    Judy Schulman comments that the location across the street is Alserbachstrasse 41. Her great uncle Rudolf Gesund owned the Café Esplanae from 1921-1936, and that name is briefly visible. Also in 1942, Pokorny is listed in the Suedostdeutscher Wachdienst as located at Alserbach 41 (see bottom right corner of the page).


    A streetcar also goes by and the number can just barely be made out as the number 5. The present number 5 streetcar goes from the Wien Bahnhof Nord, via the Franz Josef Bahnhof and Alserbach Strasse to the WestBahnHof.
    Innerhofer The numbers of the streetcars have not been changed since 1907 in 1946 the endstations of Number 5 were named "Mariahilfer Straße" and "Praterstern".


    Lime is chased through the sewers by the sewer police, and escapes across a "waterfall". Unlike other parts which were filmed in a mockup in the studios in London, this is an actual location in the sewers as picture by Michel Schreiber shows. It has been suggested that because of Orson Wells' reluctance to work in the sewers, the person here is a double and perhaps also, as suggested by Schreiber, because of the danger of this run across a (slippery?) narrow ledge.

    I have been assured by w. Nassau who worked on the film, that this is not true. While Wells complained constantly of working in the sewers, he was also very professional, and acted in all the scenes he was in. No doubles were used for him.
    On the day when setting up near this "waterfall" suddenly they were deluged by a brown flow of water. Above it was intermission time in one of the opera houses. The sewer police had known of the imminance of this event, and enjoyed the discomfort of these guests in their domain.


    Lime is trapped in the sewer, and after Lime has shot Sgt Paine, Martins takes Payne's revolver and goes after Lime, who was injured by Calloway's shot. Lime ends up on an iron staircase to a sewer grating in the road, which he is not strong enough to lift to get out of. (He must have put down his gun in trying since both hands come through the grating in the next scene.)


    The scene with Lime reaching his fingers through the grating lies somewhere between pathetic and bathetic. However the transformations of the grating is almost as interesting. In this scene shot from below it is clear that the thickness of the metal on the grating is about an inch.


    Location:Minoreten Kirche
    However, looking at Lime's finger reaching through the grating, it is clear here that the thickness of the metal is less than a quarter cm.
    Note also that we are back at exactly the same corner as we drove over so quickly with the taxi in 055 and 056. One can recognize the arcades to the right and the window styles on the building in the background in the center.
    It is surprising that the grate is not visible in the taxi picture (056). The camera in that shot must have been set up right on top of the grate. Here is a current shot from this same location. In the 1980s a new subway line was run right under the Minoretenkirche, which probably resulted in the moving of this storm sewer grating. While a grating exists near this corner, it is not in the same place as in the movie. Also, under the current grating is a shallow box, not a set of stairs.


    Two more shots from below and above show the same. Here we see that Lime is holding the gun in his hand as he reaches for the grating, but then see that his fingers of both hands poke out maximally.



    Martins finally shoots Lime (off camera, which has led to the suggestion that Lime shot himself. However to me his nod to Martins after hearing Calloway shout to Martins to shoot if he sees Lime, clearly indicates not only that Martins shot him, but also had Lime's permission to do so.)

    Lime's Burial

    Finally we have the real burial of Harry Lime.


    We are back at the same grave, as we can see by the Elchinger gravestone. One must wonder what happened to Harbin's corpse which had been buried in that grave. One also wonders who was buried in that grave in real life. Apparently no-one, as this current view by McCrindle shows. It is a pathway. The Familie Gruen grave is too far to the left of the Elchinger gravestone to be Lime's grave.


    This shot shows that Lime's grave is abutting right onto the Elchinger grave. The plank rests on the Elchinger gravestone. This modern shot shows that Lime's grave is now the site of a pathway through the cemetery. Were the authorities ashamed of this inhabitant of their graveyard?:-) Should a gravestone commemorating one of the more famous of the Friedhof's (imaginary) inhabitants be erected?
    Here is another modern shot from the same angle as the film's. The suggestion has been made that Lime's grave was that of Herr Gruen, in the grave to the left of the path (He was buried in 1948). However the location of the grave in the film seems to me to be closer to the Elchinger grave (ie, it is in the pathway) than is the Gruen grave.
    Note the very obvious church in the background of this modern shot. While the trees were much thicker in the film shot, and might hide the church, the same does not seem to be true of the shots in 25 to 28 in which the church should have been visible.


    As Anna leaves the gravesite she walks along that same road with the Jugenstil angel seen so often. Here she walks between the trees and graves. Michel Schreiber notes that the leaves against the steps to the graves show that this was filmed at exactly the same time as the shot of Martins arriving at the graveyard in the original burial of Lime (023a)


    Calloway offers Martins a ride-- at the Jugenstil angel, which was ahead of Anna both in the previous scene and the next one.


    . And here she is walking down the road itself, but her location along the road is precisely the same in the previous shot 134b (and behind 134c).


    Note again the profusion of trees along the road and the bushes behind the first row of gravestones within the cemetery. Here is current view of this road. Note that all those old trees have been eliminated and very young new trees planted.
    On the right you can see the white Jugendstil monument with bowed head, which is just visible through the trees in the film.
    Far in the background is a tall pillar which is the monument to the Soviet soldiers who died in Vienna during the occupation.


    While the view out the sides of the open top jeep have a graveyard crowded with tombstones (including Irish crosses) with essentially no vegetation and certainly no trees every 20 feet or so. Again the coloring of the stones is light and bright when seen from the jeep, but much darker when seen from the road. This graveyard on this ride is almost certainly a back projection shot in the studio, but why did they not use shots of the Friedhof cemetery in Vienna for the back projection, rather than some cemetery in London?


    Although some of the scenes are definitely from the Friedhof, such as this one. Here is a current shot of the gravestones from this scene taken by Michel Schreiber. Note that while the weeping woman just visible over the windshield is stll there, the two other monuments (the cross and the gabled-corniced stone) have collapsed or been vandalized.


    Having passed Anna, Martins decides to get out of the jeep, with Calloway saying "Be sensible". Here is a current shot of the background graves by Michel Schreiber.


    After a long, almost two minute shot of her walk along the cemetery road, with Martens waiting for her, Anna ignores him, and the movie ends.
    There is no monument at the far end of the road, so it is not just further down the road of #135. This is a current view. This is the same road as in 135 but from the vantage of the monument at the end of the road in 135. Ie, Anna seems to have turned around to walk past Martins. Note that in 135 the sun is clearly on the left of the picture (see Anna's shadow) while in 137 it is also clearly on the right (Lack of Martin's shadow and the shadow of the trees. Either she has been walking all night down the same alleyway, or she turned around. That the shadows are dominated by tree shadows which stretch all the way across the road makes it difficult to see this change in direction of the sun in the movie. Since the shadows fall diagonally across the road in the same way in both shots suggest that this detail was important for the filmmaker-- they shot 137 at almost the same time of day as 135, although in 134b and d, the shadows are almost directly across the road.

    In fact a careful viewing of the film shows that almost all of the scenes in this last ride were shot around that Jugendstil monument with figure with a bowed head. That monument reoccurs in almost every shot of this final graveyard scene. Every time the jeep stops it is in front of this monument. And all of Anna's walks, in one direction or another, are around this monument.
    This final long walk was apparently shot by uncredited German cameraman Hans Schneeberger ( http://www.screenonline.org.uk/film/id/591597/. This scene was apparently the first one shot in the filming (W. Nassau) Due to the insistance of the British unions, none of the Vienese cinematographers were allowd to have credits in the film (W. Nassau).