Will Kuluva as Bacco. Richard Bright as Coco.
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Lew Gallo as Moriarity. Fred J. Scollay as Cannoy. Carmen De Lavallade as Kitty.
Mae Barnes as Annie. Kim Hamilton as Ruth. Lois Thorne as Eadie. Zohra Lampert as Girl in Bar. William Zuckert as Bartender. Burtt Harris as George. Clint Young as Policeman.
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Ed Preble as Hotel Clerk. Mel Stewart as Elevator Operator. Ronnie Stewart as Fan with Dog. Marc May as Ambulance Attendant. Paul Hoffman as Garry. Cicely Tyson as Fra. Lou Martini as Captain of Waiters. Robert Earl Jones as Guard. Floyd Ennis as Solly. William Adams as Bank Guard. Fred Herrick as Bank Manager. Mary Boylan as Bank Secretary. John Garden as Bus Station Clerk. Allen Nourse as Police Chief.
Jul 10, Full Review…. Jan 26, Full Review…. Jan 1, Full Review…. Jun 9, Rating: 3.
View All Critic Reviews 7. Sep 25, Solid crime caper is a little heavy on the symbolism but is well acted and tightly directed with an intriguing and apt music score.
Gloria Grahame, who looks pretty rough, is wasted in a small meaningless part. Dec 28, Good stuff. It's been quite a few years since the last time I saw a Harry Belafonte film, I had forgotten just what a tremendous actor he really is was. This is a noir classic that will hold your attention wire to wire. Randy T Super Reviewer. Oct 22, One of the last great noir films. Robert Wise's direction is superb as are all the performances. You feel bad for everyone well, except maybe Robert Ryan and the climax As well as most of the movie is almost heartbreaking even if it's completely expected.
Michael G Super Reviewer.
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Sep 10, What aya say?! With our Jean-Pierre Melville retrospective we therefore screen the late period heist noir Odds Against Tomorrow from A film that Melville owned on 35mm and he confessed watching over 80 times. The film holds many tropes, techniques and visual fingerprints the French author would utilize in his own work and is in its own right a great character piece portraying racial tensions within a bankrobbers duo starring Harry Belafonte and the fantastically gruff Robert Ryan.
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A true gem of the genre and a must-see for Melville aficionados. Preparing for a bank robbery, former police officer Dave Burke Ed Begley hires two very different debt-burdened men to assist him in the raid: Earle Slater Robert Ryan , a white ex-convict, and Johnny Ingram Harry Belafonte , a black gambler and jazz musician. They seek to beat the urban landscape they navigate into a paradise of their own making, typically only finding damnation instead.
Its stylistic panache, actorly finesse, and often radical approach to the dark corners of human nature acts as both a warning and a method of seduction. But despite regularly casting the American Dream as an alluring but fatal lie, noir has always had a curious reckoning with race. There are allusions to how race shapes the lives of noir characters, but it is rarely confronted in the same unflinching way the genre confronts the dynamics of gender and desire.
But dig even deeper into its shadows, and noir reveals itself to have a racial outlook more complex than what its wider cultural image boasts. Odds Against Tomorrow takes a premise common to noir — three diametrically opposed men, bound together by desperation despite simmering animosity, plan a heist that seals their doom — but twists it into a sharp sociological consideration about the perils of mid-century racism.
It also creates a new dimension in the genre by placing a black man at its center. But Odds Against Tomorrow depicts its black characters with a beauty and sincerity that astonishes. Brun, which is resplendent with inky shadows and careful lighting; the haunting, energetic score by John Lewis of the Modern Jazz Quartet, which is one of the best noir has ever had. That it was shot on location in New York adds to the grit of the film. The most entrancing aspect of the film is the stellar acting of its cast.
Like all great noir, Odds Against Tomorrow is full of small yet impactful character turns. The film spends much of its beginning introducing layers to its central criminals. Burke Ed Begley is a former cop who plans the heist. He follows his greed, even though he knows the risks in doing so. Earl Slater Robert Ryan is an ex-con fresh from Sing Sing with a hard-bitten streak of virulent racism, who is supported by his unerringly kind girlfriend, Lorry Shelley Winters. What makes the stunning, explosive finish to the heist such a gut punch is how the film takes its time exploring the interior lives of its characters, and the place within society these men hold.
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