Released: 1959

Dir.: Robert Wise

Growing up I’d been led to believe that Touch of Evil (1958) was the end of the film noir era. Then I saw Odds Against Tomorrow.

Directed by noir legend Robert Wise, Odds Against Tomorrow is the story of three desperate men, from three distinctively different backgrounds, who all have the same goal. To make some quick money, and just maybe a fresh start.

Johnny Ingram (Harry Belafonte) is a jazz musician with a gambling problem. In deep with a bookie to the tune of $7500, trying to support an ex-wife and daughter, time has run out for Johnny. Bocca (Will Kuluva) a two-bit mobster, wants his money and he has no qualms about hurting Johnny’s family if Johnny doesn’t come up with the cash in 24hrs.

Earle Slater (noir icon Robert Ryan) an ex-con, having done two stretches in stir, once for manslaughter, is supported by his wife Lorry (Shelley Winters). He’s tough, no nonsense, mad at the world, and worst of all, a racist.

Slater and Johnny are recruited by David Burke (Ed Begly), an ex-cop who left the force in disgrace, and has come up with a fast, foolproof scheme to rob a bank in the town of Melton. Each guaranteed a $50,000 pay day, enough to start a new life.

Initially Johnny and Slater refuse. Johnny can’t afford the risk, and Slater won’t work with a black man. However, circumstances bring both men back to Burke, and the wheels are set in motion leading the trio directly up the Hudson River to Melton.

Odds Against Tomorrow is an exceptional heist film. Built on tension, the plot elements are carefully placed on top of one another until it finally can’t withstand the strain anymore. On the day of the heist, which is set for 6pm, Johnny, Slater and Burke are left to reflect in their own way. It’s like anticipating test results from a specialist, and you are left to wait and wait and wait… Every possible scenario playing in your head, most of them not good, and you just want to get it over with. Add to the mix the racial tension between Johnny and Slater.

Slater is a loathsome character, full of hatred, and contradictions. There are very brief moments where you feel he just might be redeemable. But his wiring ultimately will not allow that, and at a crucial moment he makes a horrible, selfish decision, and deviates from the plan. Robert Ryan, as always, is brilliant. Slater is a multi-layered individual, way beyond the stereotypical racist. Capable of some compassion, even kindness, when it suits him, and yet filled with so much anger and hatred. The world owes him, but really it owes him nothing because it will never be enough. It’s written all over his face. He’s the kind of man that if he’s going down, he’s going to take as many people with him as he can.

Johnny, is a likable guy, gifted musician, but terribly flawed. His gambling addiction puts his ex-wife (Kim Hamilton) and young daughter in jeopardy which drives him to make some very bad choices to protect them. Like Slater, he seems mad at the world, but he really doesn’t hate anyone. Johnny loves his daughter, and despite his divorce, he still loves his wife. Still, he can say hateful things, make rash judgements, and burn bridges. Harry Belafonte is terrific in Odds Against Tomorrow, he does sing one song in a nightclub scene, and it’s perfect. He brings a complexity to Johnny that in a split second has you rooting for him, then frustrated by his rash actions. He is a very human character.

It’s an interesting dynamic of Johnny, Slater, and Burke. Two men who don’t trust each other, forced to be reluctant allies for some fast money. With Burke acting as referee, and a kind of voice of reason, in pursuit of a common goal. But as hard as Burke tries, it just can’t work. It is kind of a snapshot of the racial tension of the time that sadly still resonates today. It’s an element of the story that isn’t overdone, but rather interwoven skillfully as a compelling component of the overall narrative.

I love everything about Odds Against Tomorrow, pure noir even though the era was coming to an end. The cinematography is gritty and real. I particularly enjoy the look and feel of the nightclub scenes, cramped and smoky. I’d like to stick around for another number or two, but I’ve got a bank robbery to witness. The heist itself is extremely tense, like a good heist should be. The cast, including a small part by the great noir femme fatal, Gloria Grahame, are all superb.

Often over-looked, Odds Against Tomorrow is an important film, not just as a noir film, but as a powerful piece of filmmaking by a group of very talented people.

Odds Against Tomorrow is available on DVD and Blu-ray from Olive Films.