Odds Against Tomorrow
by Robert Wise
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DVD Cover Information
Actor: Ed Begley, Gloria Grahame, Harry Belafonte, Robert Ryan, Shelley WintersDirector: Robert Wise
Brand: Sony
Producer: Harry Belafonte
Producer: Robert Wise
Producer: Phil Stein
Writer: Abraham Polonsky
Writer: John O. Killens
Writer: Nelson Gidding
Writer: William P. McGivern
DVD: Region Code 1
Audio: English (Unknown); English (Subtitled); French (Subtitled); Spanish (Subtitled); English (Original Language)
Format: Black & White, Closed-captioned, DVD, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 96 minutes
DVD Release Date: 2003-12-02
Audience Rating: NR (Not Rated)
Studio: MGM (Video & DVD)
Movie Reviews of Odds Against Tomorrow
Movie Review: Cutting Edge Existential Reality
Summary: 5 Stars
Odds Against Tomorrow (OAT) is only nominally about racism, though it does confront it's reality. What OAT is really about is the existential facts and fate each of these men chose, and were cast into, as a result of their past actions. Wise's directing and cinematography serve to cement, in as little time and space possible, both the chilling and human reality of what this means for each of the protagonists. The noir effects are obvious, but it is the existential drama portrayed in the cinematography that clinches both the sparseness, drama, barreness and yes, human warmth each is offered but rejects in realizing their fate. Begley's life (I will use the actor's names for ease of presentation) with his dog, barren as it seems, opens to a room that gives him all he really needs, if he will accept it, like all of us, but won't. Ryan's insurmountable frustration and rage are countered by Winter's actual love, warmth and understanding, that pierces even his hardened hearts pain, as he tellingly reveals. The psychological depth of her character, the dialogue, and the human level of portrayal of her scenes with him are everything good film-making is about, which is completely missing in contemporary American film. Belafonte's character is one of real talent and ability, on screen and off, that never achieves its full potential in this character for his lacking personal habits. But again, he, like all the rest, is offered redemption for his past and present actions, as portrayed in his wife, if he will only accept it, which he foolishly chooses to opt out of. And of all the characters in the film, his has the most to offer those around him if he will, which he doesn't. In one sense all three are American protagonist's who want to be larger and better than the world around them, but are forced out of personal circumstance and cultural reality to live roles in life far less rewarding than their actual potential. Even Ryan's character, who is as racist and rigid as can be, has redeeming qualities of resourcefulness and energy if he would only use them positively, rather than negatively, e.g., the skill of his automobile engineering. Begly has a lifetime of experience that could be positively accepted by himself, if he'd allow it, to benefit others, but instead is consumed with "getting even" for his police betrayal. And Belafonte's real feelings towards his wife and child reveal a deep appreciation of love for them, he endeavors to carry with his child, but stumbles with his wife. Yet again, she offers him the opportunity, revealing her conflicted "push-pull" feelings towards him also, because of her past vis-a-vis her pregnancy with him--a mutual obligation. In conclusion all three suffer from the chronic feature of fate, typical of noir, that comes to haunt them in everything they do. Even the bank heist is a positive, though criminal attempt to overcome their pasts, which backfires. Winter was the perfect season to make this film, for its stark clarity, but also for the telling details of breath vapor, crystalline light and clear long-distance panoramas. The shots in the country, the most telling for this viewer, offer a perceptual and physical opportunity for redemption that the characters confined city lives could never offer, which are suitably lost again, within the confines of yet another smaller town, i.e., space. All in all, OAT is a superb example of human drama on a human scale that does nothing to negate the quality of the film or of its characters in its portrayal. The ending was, if one can denote it as such, the weakest point in the film, save for the grace comment of "which one is which," concluding the real point of the entire film. That all three men, in spite of their social differences, faced the same existential opportunities, problems and outomes all of us face in our own personal dramas. Watch OAT for its superb casting, nuanced bitter/warm dialogue, it's human-scale portrayal, and for its clear brilliant B & W cinematography. As a caveat, the Modern Jazz Quartet's presence and score is a telling reminder of a time in American life when creative energy was abounding, and opportunity still available for all, regardless of rank. No more. Enjoy. GJC
Summary of Odds Against Tomorrow
Nerve-snapping tension, gritty style and an unsparing look at racial tension unite in this 'thunderbolt of a film (Los Angeles Examiner) from four-time OscarĀ(r) winner* Robert Wise and writers Abraham Polonsky and Nelson Gidding. Harry Belafonte, Robert Ryan, Shelley Winters and EdBegley deliver 'superb (Hollywood Citizen Herald) performances in this absorbing'taut crime melodrama (Variety). One hundred and fifty thousand dollars, ready for the taking. It's too much to resist for bigoted ex-con Earl Slater (Ryan). He agrees to take part in a bank robbery with former cop Burke (Begley)but hesitates when he finds out that one of his partners (Belafonte) is black. As tensions mount and the men get closer to their biggest score ever, Earl's hatred erupts, resulting in violent consequences for the heist and their lives. *1965: Best Picture, Director, The Sound of Music; 1961: Best Picture, Director (with Jerome Robbins), West Side StorySimilar DVD Movies
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