Homens em Fúria

Good low budget heist film. Ryan's character is one of the ugliest portrayals of a white racist in film. Belafonte's character is one of the most multi-faceted and complex potrayals of an African American up until that time, and the performance doesn't date at all. Wise keeps the pacing taut and the suspense high. There's great black and white location shooting in New York City and upstate in Hudson, New York. Other things of interest: it's written by black-listed Abraham Polonsky under a pseudonym (check out his great "Force of Evil"); Cicely Tyson appears in a bit part; Richard Bright portrays a pretty overt homosexual for the time; early use of a zoom lens and infrared photography; edited by Dede Allen; some interiors shot at the old Gold Medal Studios in the Bronx.

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.

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

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.

An adaptation of a novel by William P. McGivern, "Odds Against Tomorrow" is a perfectly absorbing example of socially conscious crime-noir. Ed Begley plays Dave Burke, a disgraced former cop who recruits two other participants for a bank job. Earl Slater (Robert Ryan) is a two-time loser with a frustrated girlfriend (Shelley Winters), and Johnny Ingram (Harry Belafonte) is a nightclub entertainer with a weakness for playing the horses. Both are in serious need of some cash, but tensions between the two will be inevitable, because Johnny is black and Earl is an unrepentant racist.

Vivid portraits of the personal lives of Earl and Johnny are created in a film that functions mainly as a character study. The big bank heist doesn't take place until the final quarter hour of the film. But director Robert Wise, who moved from genre to genre with ease during his career, guides it all in style. Wise gets excellent performances out of his entire cast. Supporting roles are played by Gloria Grahame (Earls' neighbour Helen), Will Kuluva (the mobster Bacco), Kim Hamilton (Johnny's ex-wife Ruth), and Richard Bright and Lew Gallo (as two of Bacco's henchmen). In small roles, both credited and uncredited, you'll see the likes of Wayne Rogers, Zohra Lampert, Robert Earl Jones, Barney Martin, Mel Stewart, and Cicely Tyson. Anchoring the tale are three highly engaging portrayals by Begley, Belafonte, and Ryan. The latter shines in one of his notable antagonist roles; Earl is such a pathological bigot that it undermines his effectiveness when push comes to shove.

"Odds Against Tomorrow" is strikingly scored, by John Lewis, and photographed, by Joseph C. Brun. Familiar names among the crew include renowned editor Dede Allen and costume designer Anna Hill Johnstone. The screenplay is the work of Nelson Gidding and the blacklisted Abraham Polonsky, who was originally credited under a pseudonym.

This is gripping entertainment that doesn't waste time, wrapping up in a taut 97 minutes. The finale is truly explosive stuff, with a very pertinent comment on humanity right at the end.

Eight out of 10.