{"id":1423,"date":"2021-09-24T21:01:03","date_gmt":"2021-09-24T20:01:03","guid":{"rendered":"https:\/\/ctalker.org\/?p=1423"},"modified":"2021-10-17T22:41:40","modified_gmt":"2021-10-17T21:41:40","slug":"kurbli-filmklub-carol-reed-a-harmadik-ember","status":"publish","type":"post","link":"https:\/\/ctalker.org\/rs\/2021\/09\/24\/kurbli-filmklub-carol-reed-a-harmadik-ember\/","title":{"rendered":"Kurbli Filmklub: Carol Reed-A harmadik ember"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1423\" class=\"elementor elementor-1423\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-74d0d274 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"74d0d274\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-2f967163\" data-id=\"2f967163\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4899c67d elementor-widget elementor-widget-text-editor\" data-id=\"4899c67d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t\n<p>Szabadka\/2021.09.22.<\/p>\n\n\n\n<p>Carol Reed: A harmadik ember (The Third Man), fekete-feh\u00e9r angol thriller-noir, 1949, 93p.<\/p>\n\n\n\n<p class=\"has-text-align-center\">\u201eA harmadik ember nem is annyira f\u0151h\u0151sei \u00e9s t\u00f6rt\u00e9nete, mint ink\u00e1bb st\u00edlusa \u00e9s korrajza miatt er\u0151s film. Robert Krasker expressz\u00edv fekete-feh\u00e9r k\u00e9pei m\u00e1r a rendez\u0151 \u00e1ltal narr\u00e1lt nyit\u00f3 mont\u00e1zsszekvenci\u00e1ban er\u0151s atmoszf\u00e9r\u00e1t teremtenek. Igen hitelesre \u00e9s nyomaszt\u00f3ra sikeredett a h\u00e1bor\u00fa ut\u00e1ni B\u00e9cs \u00e1br\u00e1zol\u00e1sa.\u201d (BENKE)<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p style=\"text-align: justify;\">Korda S\u00e1ndor angliai st\u00fadi\u00f3j\u00e1ban gy\u00e1rtott utols\u00f3 nagy sikere a Carol Reed \u00e1ltal rendezett film. A forgat\u00f3k\u00f6nyvet Graham Greene k\u00e9sz\u00edtette. A fesz\u00fclts\u00e9gteremt\u00e9s mester\u00e9nek tartott Carol Reed b\u0171n\u00fcgyi t\u00f6rt\u00e9net\u00e9nek a helysz\u00edne a n\u00e9gyhatalmilag megsz\u00e1llt \u00e9s z\u00f3n\u00e1kra osztott B\u00e9cs, ide \u00e9rkezik bar\u00e1tja h\u00edv\u00e1s\u00e1ra a f\u0151h\u0151s. De eld\u00f6nthet\u0151-e, hogy ki a f\u0151h\u0151s val\u00f3j\u00e1ban? \u201eUgyanilyen joggal nevezhetn\u00e9nk rezon\u0151rnek vagy az olvas\u00f3 altereg\u00f3j\u00e1nak, aki k\u00edv\u00fclr\u0151l \u00e9rkezve \u00e9s mit sem sejtve cs\u00f6ppen bele az esem\u00e9nyekbe. \u2026. V\u00e1laszthatjuk a Calloway nev\u0171 angol fel\u00fcgyel\u0151t, az \u0151 kez\u00e9ben futnak \u00f6ssze a sz\u00e1lak, \u00e9s \u0151 mes\u00e9li el a t\u00f6rt\u00e9netet. \u00c9s ott van m\u00e9g a c\u00edmszerepl\u0151, a rejt\u00e9lyes bar\u00e1t\u201d (BORI), akir\u0151l a film v\u00e9g\u00e9ig mindenki besz\u00e9l. Tov\u00e1bb\u00e1 Anton Karas dramaturgiailag nyomat\u00e9kos citerazen\u00e9je m\u00e9g az igaz\u00e1n formabont\u00f3.<\/p>\n<p>&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1407\" height=\"1048\" decoding=async data-opt-id=873061413  fetchpriority=\"high\" src=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:763\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/022-the-third-man-theredlist.jpg\" alt=\"\" class=\"wp-image-1425\" srcset=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1407\/h:1048\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/022-the-third-man-theredlist.jpg 1407w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:300\/h:223\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/022-the-third-man-theredlist.jpg 300w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:763\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/022-the-third-man-theredlist.jpg 1024w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:768\/h:572\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/022-the-third-man-theredlist.jpg 768w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1407\/h:1048\/q:mauto\/f:best\/dpr:2\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/022-the-third-man-theredlist.jpg 2x\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/figure>\n\n\n\n<p style=\"text-align: justify;\">A FILM NOIR meghat\u00e1roz\u00e1s\u00e1hoz a tov\u00e1bbiakban f\u0151leg P\u00e1pai Zsolt filmt\u00f6rt\u00e9n\u00e9sz \u00e9s kritikus tanulm\u00e1ny\u00e1ra t\u00e1maszkodok! Az eredetileg puszt\u00e1n egy sz\u00edn jel\u00f6l\u00e9s\u00e9re haszn\u00e1lt noir sz\u00f3, el\u0151bb francia tragikus b\u0171n\u00fcgyi k\u00f6nyvek, majd filmek, v\u00e9g\u00fcl amerikai filmek c\u00edmk\u00e9je lett, hogy azt\u00e1n a hetvenes \u00e9vekt\u0151l fokozatosan elnyerje \u00f6n\u00e1ll\u00f3s\u00e1g\u00e1t, \u00e1ll\u00edtja Roboz G\u00e1bor szak\u00edr\u00f3. A film noir korszak\u00e1nak hajnala, azaz a negyvenes \u00e9vek id\u0151szaka a filmt\u00f6rt\u00e9net egyik legjelent\u0151sebb v\u00e1ltoz\u00e1s\u00e1t eredm\u00e9nyezte. Ennek egyik f\u0151 oka, hogy a II. vil\u00e1gh\u00e1bor\u00fa t\u00f6megesen elk\u00f6vetett b\u0171neinek tapasztalata megv\u00e1ltoztatta az emberek t\u00e1rsadalomhoz \u00e9s \u00f6nmagukhoz viszony\u00edtott mor\u00e1lis \u00e1ll\u00e1spontj\u00e1t. \u201eA probl\u00e9mamegold\u00e1s \u00f6r\u00f6m\u00e9t bemutat\u00f3, a boldogs\u00e1gtematik\u00e1t prefer\u00e1l\u00f3\u201d amerikai mainstream j\u00e1t\u00e9kfilmek (t\u00f6bbnyire koszt\u00fcm\u00f6s melodr\u00e1m\u00e1k) v\u00e9g\u00e9rv\u00e9nyesen elvesz\u00edtett\u00e9k a h\u00e1bor\u00fa el\u0151tti \u00e1rtatlans\u00e1gukat. Az 1941-es A m\u00e1ltai s\u00f3lyom az els\u0151 igazi film noir. John \u201eHuston \u00faj\u00edt\u00e1sa az elidegened\u00e9s-tematika bevitele a popul\u00e1ris kult\u00far\u00e1ba. \u2026 A noirm\u0171faj k\u00f6vetkez\u0151 \u00faj\u00edt\u00e1sa a b\u0171ntematika \u00fajrak\u00f3dol\u00e1sa a b\u0171n\u00f6z\u00e9s, illetve a b\u0171nelk\u00f6vet\u00e9s h\u00e9tk\u00f6znapiv\u00e1 t\u00e9tele r\u00e9v\u00e9n.\u201d<\/p>\n<p style=\"text-align: justify;\">1944-t\u0151l, amikor elk\u00e9sz\u00fcl a Kett\u0151s k\u00e1rig\u00e9ny, \u201eaz \u00e1tlagpolg\u00e1r, mint potenci\u00e1lis b\u0171nelk\u00f6vet\u0151, ker\u00fcl a centrumba. \u2026 \u00bbP\u00e9nz\u00e9rt \u00f6ltem, \u00e9s egy n\u0151\u00e9rt, \u00e9s nem lett eny\u00e9m a p\u00e9nz, nem lett eny\u00e9m a n\u0151\u00ab \u2013 mondja. Azzal, hogy az anyagi \u00e9s a lelki szerz\u00e9sv\u00e1gyat egyetlen mondatban egym\u00e1s mell\u00e9 helyezi, Billy Wilder \u00bbAmerik\u00e1ba emigr\u00e1lt, a h\u00e1bor\u00fa el\u0151tt Berlinben \u00e9l\u0151 lengyel rendez\u0151\u00ab, a noirciklus egyik legfontosabb jellemz\u0151j\u00e9t emeli ki. \u201eA film noir a modern ember rossz k\u00f6z\u00e9rzet\u00e9t, szorong\u00e1s\u00e1t, idegens\u00e9g\u00e9t, frusztr\u00e1ci\u00f3j\u00e1t, kiel\u00e9g\u00edtetlens\u00e9g\u00e9t fogalmazza meg.\u201d A legextr\u00e9mebb zs\u00e1nermin\u0151s\u00e9gnek is tekinthet\u0151 film noir jellegzetes tematikus elemei a \u201ehat\u00e1rozotts\u00e1g\u00e1t veszt\u0151 f\u00e9rfih\u0151s, v\u00e9gzet asszonya, a b\u0171nbesodr\u00f3d\u00e1s folyamat\u00e1nak bemutat\u00e1sa, modern mili\u0151\u201d \u00e9s formai saj\u00e1toss\u00e1gai, \u00fagymint a f\u00e9ny\u2013\u00e1rny\u00e9k j\u00e1t\u00e9kok, az aszimmetrikus \u00e1tl\u00f3s kompoz\u00edci\u00f3k, a szubjekt\u00edv n\u00e9z\u0151pont be\u00e1ll\u00edt\u00e1sa vagy a flashback, szinte kiv\u00e9tel n\u00e9lk\u00fcl fellelhet\u0151ek a n\u00e9met expresszionizmusban \u00e9s a francia l\u00edrai realizmusban is. Tov\u00e1bb\u00e1 &#8222;fontos szerep jutott az eml\u00e9kez\u00e9sdramaturgi\u00e1nak\u201d, \u00edgy az oly gyakori \u201ebuk\u00e1st regisztr\u00e1l\u00f3 nyit\u00e1ny miatt a film noir n\u00e9z\u0151je a legels\u0151 pillanatokt\u00f3l a kudarctematika r\u00e9szese.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-gallery aligncenter columns-1 is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img fetchpriority=\"high\" decoding=\"async\" width=\"1733\" height=\"764\" decoding=async data-opt-id=1938874924  fetchpriority=\"high\" src=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:451\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg\" alt=\"\" data-id=\"1428\" data-full-url=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg\" data-link=\"https:\/\/ctalker.org\/?attachment_id=1428\" class=\"wp-image-1428\" srcset=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1733\/h:764\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg 1733w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:300\/h:132\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg 300w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:451\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg 1024w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:768\/h:339\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg 768w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1536\/h:677\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg 1536w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1733\/h:764\/q:mauto\/f:best\/dpr:2\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n-1.jpg 2x\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"blocks-gallery-item__caption\"><a href=\"https:\/\/port.hu\/adatlap\/szemely\/orson-welles\/person-1164\"><strong>Orson Welles<\/strong><\/a><\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p style=\"text-align: justify;\">HALAD\u00d3: \u201eHollywood t\u00f6rt\u00e9net\u00e9nek els\u0151 korszak\u00e1ban a \u201enoirszenzibilit\u00e1s legf\u0151bb hordoz\u00f3i azok a val\u00f3szer\u0171bb \u00e9s val\u00f3sz\u00edn\u0171bb (teh\u00e1t nem fantasztikus) m\u0171fajok voltak, amik az uralkod\u00f3 \u00e1ramlatokkal szemben \u2026, a kudarcot, a veres\u00e9get mutatt\u00e1k be. Azaz a bukott, illetve az elbuk\u00f3 h\u0151st vagy az antih\u0151st \u00e1ll\u00edtott\u00e1k k\u00f6z\u00e9ppontba. Kett\u0151 ilyen m\u0171faj volt \u00d3hollywoodban, a tragikus rom\u00e1nc \u00e9s a gengszterfilm.\u201d A m\u0171fajelm\u00e9leti \u00e9rtekez\u00e9sek n\u00e9pszer\u0171bb\u00e9 v\u00e1l\u00e1s\u00e1t\u00f3l, a hetvenes \u00e9vekt\u0151l az \u201eelidegened\u00e9s\u201d lett az elm\u00e9letek kulcsfogalma. A film noir kifejez\u00e9st el\u0151sz\u00f6r Robert Porfirio 1976-os \u00edr\u00e1sa jel\u00f6li (No Way Out: Existential Motifs in the Film Noir). \u201eEbben a film noir nem m\u0171fajk\u00e9nt, hanem olyan \u00bbpesszimista hangulatk\u00e9nt\u00ab, illetve \u00bbszenzibilit\u00e1sk\u00e9nt\u00ab defini\u00e1l\u00f3dik, \u00bbamely al\u00e1\u00e1ssa a happy endeket \u00e9s megg\u00e1tolja a tipikus hollywoodi eszk\u00e9pizmus \u00e9rv\u00e9nyes\u00fcl\u00e9s\u00e9t\u00ab. Ez a t\u00edpus\u00fa \u00bbszenzibilit\u00e1s\u00ab k\u00fcl\u00f6nb\u00f6z\u0151 m\u0171fajokban is megjelenhet, \u00e9s \u00bbnagyobb szerepe van abban, hogy a fekete filmet feket\u00e9nek l\u00e1ssuk, mint a vil\u00e1g\u00edt\u00e1snak \u00e9s a f\u00e9nyk\u00e9pez\u00e9snek\u00ab. Porfirio c\u00e9lja az egzisztencialista filoz\u00f3fia kulcsfogalmainak alkalmaz\u00e1sa a filmek elemz\u00e9s\u00e9ben, p\u00e9ld\u00e1ul \u201eelidegened\u00e9s\u201d, \u201emag\u00e1nyoss\u00e1g\u201d, \u201ejelent\u00e9sn\u00e9lk\u00fclis\u00e9g\u201d, \u201ec\u00e9ltalans\u00e1g\u201d, \u201eabszurd\u201d, \u201ek\u00e1osz\u201d, \u201eer\u0151szak\u201d, \u201eparanoia\u201d. \u201ePorfirio szem\u00e9ben az egzisztencializmus \u00bbegy szeml\u00e9letm\u00f3d, amely a dezorient\u00e1lt egy\u00e9nnel kezd\u0151dik, aki szemben \u00e1ll az \u00f6sszezavarodott vil\u00e1ggal, amit k\u00e9ptelen elfogadni.\u00ab A film noir egy\u00e9n \u00e9s a vil\u00e1g szemben\u00e1ll\u00e1s\u00e1r\u00f3l tud\u00f3s\u00edt, pontosabban a vil\u00e1got megmagyar\u00e1zni k\u00edv\u00e1n\u00f3 egy\u00e9n \u00e9s a minden \u00e9rtelemad\u00f3 k\u00eds\u00e9rlettel szemben ellen\u00e1ll\u00f3 vil\u00e1g viszony\u00e1t mutatja be, illetve ennek a viszonynak az \u00bbabszurdit\u00e1s\u00e1t\u00ab illusztr\u00e1lja.\u201d<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img decoding=\"async\" width=\"300\" height=\"168\" decoding=async data-opt-id=199429136  src=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/index.jpg\" alt=\"\" class=\"wp-image-1430\" srcset=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:300\/h:168\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/index.jpg 300w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:300\/h:168\/q:mauto\/f:best\/dpr:2\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/index.jpg 2x\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center\" style=\"text-align: justify;\">A film noir a \u201ehollywoodi konvenci\u00f3kat megs\u00e9rt\u0151 m\u0171fajokra alapozott, \u00e9s az egyes konvenci\u00f3t\u00f6r\u0151 mozzanatok egybefog\u00e1s\u00e1b\u00f3l hozta l\u00e9tre a saj\u00e1t normarendszer\u00e9t. \u2026 A horror mellett a thriller, a krimi vagy a melodr\u00e1ma \u2013 jobb\u00e1ra az\u00e9rt nem noirszenzibilis, mert az akad\u00e1lyok legy\u0171r\u00e9s\u00e9r\u0151l sz\u00f3l, a sikert \u00e9nekli. A gengszterfilm, a tragikus rom\u00e1nc \u00e9s a noir viszont le\u00e9p\u00fcl\u00e9st\u00f6rt\u00e9net, \u00e9s mint ilyen a hollywoodi fejl\u0151d\u00e9selv\u0171, eredend\u0151en optimista ideol\u00f3gi\u00e1t kontr\u00e1zza meg. \u2026 A h\u00e1rom m\u0171faj k\u00f6z\u00f6tt a legszorosabb kapcsolatot az teremti meg, hogy a v\u00e9gzet \u00e1ltal m\u00e1r kezdetekt\u0151l kudarcra \u00edt\u00e9ltetett, frusztr\u00e1lt, a vil\u00e1gban idegen\u00fcl mozg\u00f3 h\u0151s\u00f6ket \u00e1ll\u00edtanak a k\u00f6z\u00e9ppontba, \u00e9s megval\u00f3sulatlan vagy csonk\u00e1n megval\u00f3sult v\u00e1gyakat mutatnak be.<\/p>\n\n\n\n<p>A tragikus fekete rom\u00e1nc noirszenzibilit\u00e1s\u00e1t mindenekel\u0151tt a m\u0171faj rendhagy\u00f3 szerelemk\u00e9pe hordozza, amely az \u00f6nmegval\u00f3s\u00edt\u00e1s korl\u00e1tainak bemutat\u00e1sa, az egyszerelemhit blaszfemiz\u00e1l\u00e1sa, a szerelmi k\u00e1rhozat \u00e1br\u00e1zol\u00e1sa, a t\u00e1rgyatlan f\u00e9lt\u00e9kenys\u00e9g mot\u00edvum\u00e1nak megjelen\u00edt\u00e9se, a melodr\u00e1mai csoda megtagad\u00e1sa \u00e9s az er\u0151szakos hal\u00e1l beemel\u00e9se r\u00e9v\u00e9n k\u00f6rvonalaz\u00f3dik.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1440\" height=\"750\" decoding=async data-opt-id=514093661  src=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:533\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/a-harmadik-ember.webp\" alt=\"\" class=\"wp-image-1426\" srcset=\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1440\/h:750\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/a-harmadik-ember.webp 1440w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:300\/h:156\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/a-harmadik-ember.webp 300w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:533\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/a-harmadik-ember.webp 1024w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:768\/h:400\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/a-harmadik-ember.webp 768w, https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1440\/h:750\/q:mauto\/f:best\/dpr:2\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/a-harmadik-ember.webp 2x\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><figcaption><a href=\"https:\/\/port.hu\/adatlap\/szemely\/alida-valli\/person-14343\">Alida Valli<\/a> \u00e9s <a href=\"https:\/\/port.hu\/adatlap\/szemely\/joseph-cotten\/person-4489\">Joseph Cotten<\/a><\/figcaption><\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Szabadka\/2021.09.22. Carol Reed: A harmadik ember (The Third Man), fekete-feh\u00e9r angol thriller-noir, 1949, 93p. \u201eA harmadik ember nem is annyira f\u0151h\u0151sei \u00e9s t\u00f6rt\u00e9nete, mint ink\u00e1bb st\u00edlusa \u00e9s korrajza miatt er\u0151s film. Robert Krasker expressz\u00edv&#46;&#46;&#46;<\/p>\n","protected":false},"author":3,"featured_media":1427,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[6,8,9,1],"tags":[],"class_list":["post-1423","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmvetites","category-kurbli","category-kurbli-filmklub","category-uncategorized"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/09\/242710713_10227842301984370_5845909080318772684_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/rs\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1423","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/comments?post=1423"}],"version-history":[{"count":7,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1423\/revisions"}],"predecessor-version":[{"id":1485,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1423\/revisions\/1485"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media\/1427"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media?parent=1423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/categories?post=1423"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/tags?post=1423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}