Odds Against Tomorrow

Not necessarily film noir, but an impeccably crafted heist film and character study which covers many subjects dividing society, including race, sexuality, and generation. Surely this is one of the films that helped bring about the end of the production code in Hollywood. It manages to be neither preachy nor sentimental, and in fact is quite even-handed, understated, and methodical. It's no wonder this was apparently a huge influence on Jean-Pierre Melville.

Wise beautifully paints the screen in shades of gray. Ryan is at his very best. Belafonte is absolutely wonderful. There's also a fine roster of excellent supporting actors. I also have to mention the amazing avant-garde score, and the striking use of sound design, often bridging scenes with a particular sound effect. There are scattered references to atom bombs. The film's climax even evokes a post-nuclear landscape. The film is grim, claustrophobic, gripping, and damn near perfectly executed.

Wise weaves several elements very deftly, creating a tense crime film, a character study and a social study all in one enjoyable and moody film. The three leads are all fantastic at showing their inner turmoil and the ending is perfectly appropriate in wrapping up the film's various angles. Great score too.

Brilliantly balances a striking mix of taut heist drama and social commentary. At least until the end, which is, admittedly, more than a little silly.

Compelling late noir, dealing with themes of racism and obsolescence quite effectively, while ratcheting up the suspense with equal skill. Harry Belafonte, Robert Ryan, and wily old Ed Begley are all excellent; Belafonte and Ryan never fall into stereotype, despite the potentially heavy-handed relationship of their characters. Top-notch cinematography by Joseph Brun and a fine jazz score by John Lewis (kick-ass credits, too); Robert Wise's direction is strong, the awkwardly staged climax aside.

Like most noir films the plot is driven by broken, greedy characters but unlike the norm, it's also driven by race. There's no heavy handed white guilt at play though; Wise cleverly makes his point by landing his characters in the same boat. It's the old 'show don't tell' trick and it makes Odds Against Tomorrow meaningful rather than tiresome.

Wimpy ending but otherwise good and gritty. Great cast. Great photography. Cassavetes' "Shadows" which also discussed race relations came out that year, but was indie. The director and writers here came from the heart of Hollywood.

This film shows just how petty and damaging bigotry and hatred can be, and the way it was shot just gives the picture a sense of dread and menace that few other noirs match.

Very hip crime drama with a great screenplay and good performances from a fine ensemble cast.

This movie works on multiple levels. Very good heist movie, while also dealing with blatant racism. Everyone pulled their weight in this ensemble cast as well.

Every once in a while Wise’s undeniable craftsmanship stumbled into Art, here it’s nearly the whole movie. A true daytime noir - by that, I mean nothing’s as chiaroscuro as you’d like, it’s all in grayscale and open air - but that alone absolutely fits its theme of desperation hitting the redemption of broken men, regardless of what they look like on the outside or inside. The apocalyptic ending is the film’s only heavy hand, but might be worth it for the scorching punchline.

Dialogue, characterisation and performances are for the most part pretty good, and the filmmakers do try to do something, but it tends to become less interesting as it goes along, the heist itself is a bit underwhelming, and the final conclusion, where the racial theme is wrapped up with a bit of macabre irony, comes across as somewhat trite and ultimately disappointing.

Intense, with an excellent audiovisual profile. The main roles have character and provide more depth to the usual crime plot. Even enjoyed the ending, however crude it was.

Phenomenally shot and edited while depicting racial tensions in raw fashion without caricaturizing any player in this conflict. On the other hand, the first hour feels overly padded with a lot of pointless sub plots that don't go anywhere when you're mostly interested in the leads and their ultimate heist. Fortunately, the heist scene itself is elevated by excellent shot composition that elevates what would normally be mundane even if it all leads to a lame cop out of an ending.

Just before launching the most prestigious phase of his career, Robert Wise directs this really magnificent crime flick that Jean-Pierre Melville adored and James Ellroy called "the greatest heist-gone-wrong film". Wayne Rogers, Cicely Tyson and Zohra Lampert pop up in their film debuts.

HUAC and general anti communist rhetoric robbed us all of film system that actually rewarded leftist politics and didn't just tongue wax the boot of the Bourgeoisie.

If there's any justice in this world Kazan is burning in hell.

On the surface this works already as a very good heist movie with a tight plot and a great cool jazz score. Underneath it deals with racial tensions. It does so realistically. RRs character is an irredeemable bigot, but still made a three-dimensional character by showing his background and better sides. Meanwhile HB character struggle as an African-American is best shown when he confronts his ex-wife for integrating too much in the "white" world.The ending is too on the nose alas.

Great film noir hinges on a few post WW2 American themes: soldiers returning home to no respect, women confronting men with their new independence, and violence as a solution to life's problems. Odds Against Tomorrow adds to those an extra element missing from other pictures: racial tension. The solid production moves well with great photography & jazz music. It can sometimes come off a bit dated & as such is more of a time capsule than a timeless classic. Still, the haunting ending holds up.

Star Rating: ★★★