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IMDbPro

Strategia di una rapina

Titolo originale: Odds Against Tomorrow
  • 1959
  • T
  • 1h 36min
VALUTAZIONE IMDb
7,4/10
6061
LA TUA VALUTAZIONE
Harry Belafonte, Gloria Grahame, and Robert Ryan in Strategia di una rapina (1959)
Dave Burke hires two very different debt-burdened men for a bank robbery. Suspicion and prejudice threaten to end their partnership.
Riproduci trailer3:03
1 video
69 foto
CapperoCrimineDrammaThriller

Dave Burke ingaggia due uomini molto diversi e gravati da debiti per rapinare una banca. Il sospetto e il pregiudizio minacciano di porre fine alla loro collaborazione.Dave Burke ingaggia due uomini molto diversi e gravati da debiti per rapinare una banca. Il sospetto e il pregiudizio minacciano di porre fine alla loro collaborazione.Dave Burke ingaggia due uomini molto diversi e gravati da debiti per rapinare una banca. Il sospetto e il pregiudizio minacciano di porre fine alla loro collaborazione.

  • Regia
    • Robert Wise
  • Sceneggiatura
    • William P. McGivern
    • Abraham Polonsky
    • Nelson Gidding
  • Star
    • Harry Belafonte
    • Robert Ryan
    • Gloria Grahame
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,4/10
    6061
    LA TUA VALUTAZIONE
    • Regia
      • Robert Wise
    • Sceneggiatura
      • William P. McGivern
      • Abraham Polonsky
      • Nelson Gidding
    • Star
      • Harry Belafonte
      • Robert Ryan
      • Gloria Grahame
    • 99Recensioni degli utenti
    • 61Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 candidatura in totale

    Video1

    Trailer
    Trailer 3:03
    Trailer

    Foto69

    Visualizza poster
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    + 65
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    Interpreti principali40

    Modifica
    Harry Belafonte
    Harry Belafonte
    • Ingram
    Robert Ryan
    Robert Ryan
    • Slater
    Gloria Grahame
    Gloria Grahame
    • Helen
    Shelley Winters
    Shelley Winters
    • Lorry
    Ed Begley
    Ed Begley
    • Burke
    Will Kuluva
    Will Kuluva
    • Bacco
    Kim Hamilton
    Kim Hamilton
    • Ruth
    Mae Barnes
    • Annie
    Richard Bright
    Richard Bright
    • Coco
    Carmen De Lavallade
    Carmen De Lavallade
    • Kitty
    Lew Gallo
    Lew Gallo
    • Moriarity
    Lois Thorne
    • Eadie
    Wayne Rogers
    Wayne Rogers
    • Soldier in Bar
    Zohra Lampert
    Zohra Lampert
    • Girl in Bar
    Allen Nourse
    • Police Chief
    William Adams
    William Adams
    • Bank Guard
    • (non citato nei titoli originali)
    Chris Barbery
    • Gas Station Attendant
    • (non citato nei titoli originali)
    Ron Becks
    Ron Becks
    • Carousel Boy
    • (non citato nei titoli originali)
    • Regia
      • Robert Wise
    • Sceneggiatura
      • William P. McGivern
      • Abraham Polonsky
      • Nelson Gidding
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti99

    7,46K
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    Recensioni in evidenza

    7RanchoTuVu

    social crime drama

    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.
    lemon993

    Can't we all get along?

    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.
    dbdumonteil

    Tomorrow is such a long time.

    Nowadays Robert Wise has been restored to critical favor.It was about time.An eclectic talent,he tackled sci-fi (the day the earth stood still),musicals (west side story) ,social topics (I want to live),film noir (this one),horror("haunting" is better than any horror film I can think of).He invented the movie "in real time":"the set-up" occurred more than ten years before "Cleo de 5 à 7".

    "Odds against tomorrow" is one of these films that seems better today than before.Influenced by John Huston (the asphalt jungle),it did influence French director Jean-Pierre Melville(le samouraï,le cercle rouge).Wise's movie represents the twilight of film noir,the dead end (check the last picture),the terminus of the genre.

    It's the story of a hold-up,but action aficionados will not be satisfied.Wise wants to communicate a whole context,he wants to detail his characters to a fault.How many directors would dare that today?Robert Ryan's part is very complex.First he seems friendly,but further acquaintance shows a lack of self-confidence (he's getting old,he's a washout,he wants to go for broke) .And he is a racist.Rarely,this obnoxious feeling has been depicted with such wit.Why is he so?No answer,no explanation,he's racist,period.The ending which I will not reveal of course demonstrates (watch out for the two last lines of dialogue,they are simply fantastic!),the absurdity of this cancer of our societies.Harry Belafonte is on a par with Ryan:he's a gambler down on his luck,and he,too,is enduring personal turmoil:his wife wants to break off communication with him,not only because he lives in a dangerous world,but,because he sticks with his black brothers(the songs in the cabaret are telling;and the way Belafonte uses the xylophone as drums is too)This wife ,like Sarah-Jane in "imitation of life" (released the same year),is dreaming of a "white" life.Their couple is doomed whatever they may do.Ed Begley,always smiling,beaming ,is the threesome's troubleshooter.In his own way,he seems wise (no joke intended),the good guy that wants to retire after the hold-up.

    Then,just before the action scenes,suddenly,the earth stands still(again,no joke intended)The atmosphere becomes unusual,poetic,almost pastoral:Belafonte watches the river flow and finds a broken doll in the sludge:he certainly thinks of this life he could have lived with his little girl.Besides,children shots frame the movie as a symbol of a long gone innocence;at the beginning,Ryan meets some on them on his way to Begley's flat;and just before the bank scene,some of them are playing cops and robbers with toy revolvers.While Belafonte is wandering along the river,Begley looks at a statue (a Christ?)and reads a strange and sadly unprophetic inscription carved into the stone.Ryan watches a rabbit,he aims at it,we hear a shot:it's only a tin can.

    THe hold-up does not interest Wise.Like the true auteurs,it reduces it to another event,not more important than Ryan's fight with the soldier. And all these pastoral vignettes echo to the urban,almost abstract set where the drama is resolved.There's something apocalyptic here,recalling Walsh's "White heat",the main difference being that James Cagney's character was psychotic and Ryan's and Belafonte's are "ordinary".

    This peak of the film noir ,not necessary appealing because drifting too far from the shores of gangsters' paraphernalia,should not be missed.Like most of Wise's movies ,it will still improve with time.
    manuel-pestalozzi

    Men in winter

    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.
    back2wsoc

    Starkly photographed, brutal, well acted character study/caper

    Oscar-winning director Robert Wise ("West Side Story", "The Sound of Music") directs Harry Belafonte, Robert Ryan, Shelley Winters and Ed Begley to masterful performances in this grounbreaking, revelatory film. Earl Slater (Ryan) is a bigoted small-time petty thief with a supportive but hapless live-in lover (Winters). Johnny Ingram (Belafonte) is a down on his luck hustler/drummer who gets involved with a bank robbery scheme with Dave Burke (Begley). Slater is also in on the heist, but must come to terms with his racist views with Ingram in order to pull off the plan. This is an incredibly clear-eyed, no holds barred look at the kind of segregation that was alive at the time, with superb performances by all, including Gloria Grahame as Ryan and Winters' love-starved neighbor, Helen, and Kim Hamilton as Belafonte's ex-wife, Ruth. The film dosen't resort to theatrics to build its tension; that comes naturally, due to excellent ensemble work by the cast, a great jazz score by John Lewis and Joseph C. Brun's gritty camerawork. An influential, brilliant film, not to be missed. ***1/2

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    • Quiz
      Harry Belafonte starred in this, the first film-noir with a black protagonist. Belafonte selected Abraham Polonsky, who had written and directed a famous noir, "Le forze del male (1948)," to write the script. As a blacklisted writer Polonsky used a front, John O. Killens, a black novelist and friend of Belafonte's (In 1997, the Writers Guild of America officially restored Polonsky's credit).

      Strategia di una rapina (1959) is often acknowledged as one of the last films to appear in the film-noir cycle which reached its height in the post-World War II era. However, this crime thriller is much more complex than the standard genre entry. While it's certainly gritty and downbeat in the best noir tradition, it also works as an allegory about greed as well as a cautionary tale about man's propensity for self-destruction.
    • Blooper
      As Slater first drives the souped-up Chevy wagon, he grinds the gears. Later, as the speedometer climbs to 100 mph, the left side of the Powerglide shift quadrant is seen on the steering column. Automatic transmissions don't make gear-grinding noises.
    • Citazioni

      Kitty: [after kissing Ingram] That's good. But it was better when you wanted it.

    • Connessioni
      Featured in Film Review: Robert Wise (1967)
    • Colonne sonore
      My Baby's Not Around
      Written by Harry Belafonte and Milton Okun

      Performed by Harry Belafonte

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    Dettagli

    Modifica
    • Data di uscita
      • 3 febbraio 1960 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Odds Against Tomorrow
    • Luoghi delle riprese
      • Hudson, New York, Stati Uniti
    • Azienda produttrice
      • HarBel Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 36min(96 min)
    • Colore
      • Black and White
    • Proporzioni
      • 1.85 : 1

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