Odds Against Tomorrow

Robert Wise's Odds Against Tomorrow grinds along to an inevitable conclusion, but offers a great performance by Ed Begley as Dave Burke, an ageing ex con looking to set up one last job. Filmed in black and white in winter in New York (both the city and a small-town upstate venue where the bank is) it has a drabness that permeates the whole film. Robert Ryan plays racist small-timer Earle Slater, who must team up with Johnny Ingram (Harry Belafonte) a jazz singer/vibraphonist who owes gambling debts to mobster Bacco played by Will Kuluva. Shelley Winters plays Slater's girlfriend Lorrie, a lonely woman with a steady job trying to buy his affection. Their relationship is based more on mutual need than love, her for sex and him for the money and company. Begley as Dave Burke must referee between his two cohorts. The racial tension between Slater and Ingram is carried to the extreme, and in the end it is what does in the heist. The subdued jazzy musical score combined with the bleak photography make this one moody movie. While the ending for Begley is pure drama, for Ryan and Belafonte it is too ironic for its own good, a clear example of the so-called message interfering with the plot, or maybe the message was the plot.

In New York, the former cop Dave Burke (Ed Begley) summons the veteran Earle Slater (Robert Ryan) and the jazz musician Johnny Ingram (Harry Belafonte) to heist a bank in a small town. Slater is financially supported by his woman Lorry (Shelley Winters) and feels uncomfortable with the situation. Johnny is a compulsive gambler and owes a large amount to the shark Bacco (Will Kuluva), who is threatening his ex-wife and his daughter. They both are reluctant to accept the invitation, but they need money and accept to participate in Burke's plan. However Slater is racist and does not trust in Johnny.

"Odds against Tomorrow" is a suspenseful crime drama with the story of the preparation and execution of a heist of a bank. Directed by Robert Wise and with magnificent performance of Robert Ryan, the plot discloses the racism in America in 1959. The racial tension between the characters performed by Robert Ryan and Harry Belafonte is increasing reaching the climax in the tragic conclusion. My vote is seven.

Title (Brazil): Not Available on Blu-Ray or DVD.

Bigotry undermines this unholy trio's effort to execute the ultimate robbery. The actors whipped up for this illegal exercise are played by Harry Belafonte, Robert Ryan and Ed Begley. The volatile chemistry between the three desperate fellows fuels this bleak film noir from the late Fifties. Once again, there is some gorgeous on location photography in Manhattan, especially Central Park. Fine Jazz and Calypso music are served up at the smoky club where Belafonte works. Crooked camera angles and cluttered set direction contribute nicely to a claustrophobic atmosphere. The apartment building where Begley resides has a weird elevator that has multiple exit doors as well as an operator who likes to talk about the wind piercing the elevator shaft. The dames--Gloria Grahame and Shelly Winters--are rough but warm around the edges. Wayne Rogers makes his debut in a small role as a braggart in a bar. Stick around for the killer final and be blown away.

Odds Against Tomorrow is a sharp little Black-and-White noir caper movie. Robert Ryan is very good as a southern accented hateful bigot. He's teamed with the sharp dressed, compulsive gambler Harry Belafonte. Belafonte financed the movie. No doubt that's why the bouncy jazz soundtrack is so good. The movie's pairing of the two builds to an explosive finale following the heist that goes about as wrong as it could. Also starring Ed Begley is the leader of the gang. He's also excellent as the one man keeping the caper on track and keeping the two crooks from killing each other.

Here's what Begley says after one of Ryan's racial slurs:

"Don't beat out that Civil War jazz here, Slater! We're all in this together, each man equal. And we're taking care of each other. It's one big play, our one and only chance to grab stakes forever. And I don't want to hear what your grandpappy thought on the old farm down in Oklahoma! You got it?"

A worthwhile caper for fans of noir or Belafonte.

Influenced by the more comic The Asphalt Jungle

This is one of my favourite American crime movies. It sits right in the middle between John Huston's "Asphalt Jungle" and William Friedkin's "The French Connection" – probably the two all time best of the police/caper genre.

In "Asphalt Jungle", the suave Alonzo Emmerich says that crime is a left handed kind of human endeavour. And this describes exactly what the three guys in this movie are doing. There is even a scene that looks like a reference to that statement as Ed Begley's character is staring at a monument with the weird inscription to the effect that every man should do what his hands are capable of doing. Robert Ryan plays a kind of a brother of the Sterling Hayden character in "Asphalt Jungle", an embittered farmer's son from Kentucky who could not make it in this world, has no prospects and sees the bank robbery as his last chance. There is no doubt that Ryan was a far more talented actor than Hayden, he gives his character real depth, you almost feel sorry for him although that character is really disgusting.

"Odds against tomorrow" precedes "The French Connection" with its truly breathtaking documentary style photography, the use of music and sound effects to heighten the tension (the soundtrack is just terrific, Harry Belafonte‘s talents were put to good use in a very sensible way) and in the way the characters are shown just waiting out in the cold.

It is really a film about men in winter, where there is no hope left. Great care was taken to make all the three main characters human beings with real feelings. In this aspect the ending really is disappointing – it seems to belong to an other movie, its symbolism does not fit in at all and gives the aspect of racism an importance that in this story it does not really possess. The racism of the Ryan character seems like a pretext – he was so miserable, he just needed somebody to hate, it could have been any particular group of living beings.