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.
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.