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Odds Against Tomorrow [1959 film]

de Robert Wise, Harry Belafonte (Producer/Actor), Joseph C. Brun (Director of Photography), Nelson Gidding (Screenplay), John O. Killens2 més, William P. McGivern (Novel), Abraham Polonsky (Screenplay)

Altres autors: Ed Begley (Actor), Gloria Grahame (Actor), Robert Ryan (Actor), Shelley Winters (Actor)

MembresRessenyesPopularitatValoració mitjanaConverses
1421,169,144 (3.5)No n'hi ha cap
One hundred and fifty thousand dollars, ready for the taking. It's too much to resist for Earl Slater, a bigoted ex-con slumming through life with a patronizing girlfriend, an obliging neighbor and zero expectations. He agrees to be part of a bank job planned by former cop Burke. Until, that is, he finds out one of his partners will be a black man. Earl's desperate need for cash, however, leads him to reconsider. For the job only, he'll put his racism aside ... until moments away from the score, hatred erupts.… (més)
No n'hi ha cap
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Odds Against Tomorrow (1959)

Harry Belafonte – Ingram
Robert Ryan – Slater

Ed Begley – Burke
Shelley Winters – Lorry
Gloria Grahame – Helen
Will Kuluva – Bacco
Kim Hamilton – Ruth

Screenplay by Abraham Polonsky and Nelson Gidding, based on the novel by William P. McGivern
Directed by Robert Wise

Black and white. 96 min.

=========================================

Yeah, yeah, I know I got rid of the headache. Now I got cancer.

This is a most fascinating drama full of crooked and violent characters, beautifully shot around a bleached and rather sinister New York, and with one of the most dissonant and psychedelic scores I’ve ever heard in a Hollywood production. It’s often described as a heist or a caper movie, but that’s rather misleading: it refers only to the last 15 minutes. This is a character study. If the writing is somewhat uneven or dated, verging on melodrama or lamely relying on racist tension, the acting is uniformly outstanding. Ed Begley is the mastermind who wisely prefers his German shepherd to a wife but not so wisely thinks you can walk into a bank, grab $50,000 and walk out just like that. Robert Ryan steals the show as one of those nasty guys in whom he specialised and played better than almost anybody else. This one is a racist and a bully, yet becomes putty in the strong hands, not to mention on the capacious bosom, of Shelley Winters. Harry Belafonte is generally regarded as a better singer than actor, but I personally have never heard a vocal performance of his (including a charmingly bluesy one in this movie) which I like better than his Ingram, a rather pathetic yet endearing gambler in debt with marriage problems who did get rid of his headache only to catch cancer. Gloria Grahame is unfortunately reduced to a single scene with Robert Ryan. But what a sizzling and sinister piece of seduction this is! Robert Wise makes the best of the cast and the New York locations, considerably helped by the surreal cinematography of Joseph C. Brun (little-known name who also contributed to another little-known 1959 masterpiece, Middle of the Night). ( )
  Waldstein | Mar 1, 2020 |
(Odds Against Tomorrow, Usa 1959, b/n, 96') Robert Wise. Con Harry Belafonte, Robert Ryan, Gloria Grahame, Shelley Winters, Ed Begley, Will Kuluva. * Un ex poliziotto sospeso per corruzione (Begley), il cantante nero di un night con il vizio del gioco (Belafonte) e un reduce che non mai saputo reinserirsi (Ryan) decidono di assaltare una banca, ma il piano fallisce a causa dei pregiudizi razziali del terzo. Dal romanzo di William P.McGivern (sceneggiato senza essere accreditato da Polonsky, che in quegli anni era ancora sulla lista nera), un film disperato e appassionante dove la storia poliziesca si intreccia con il tema del razzismo, specie di "elegia glaciale e coinvolgente per tre perdenti, abbondati in un universo urbano che li accerchia e li soffoca" Alla fine dell'epoca d'oro del noir, Wise dirige un film praticamente perfetto nel suo classico bianco e nero, dove le psicologie e i personaggi tutti e tre sullo stesso piano, senza ruoli principali e sopratutto senza facili manicheismi, contano molto di più delle azioni e i tempi morti sono più affascinanti del colpo alla banca (relegato in pochi minuti alla fine del film). Bella colonna sonora del pianista jazz John Lewis. ( )
  videotecadsu | Dec 11, 2015 |
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Nom de l'autorCàrrecTipus d'autorObra?Estat
Robert Wiseautor primaritotes les edicionscalculat
Belafonte, HarryProducer/Actorautor principaltotes les edicionsconfirmat
Brun, Joseph C.Director of Photographyautor principaltotes les edicionsconfirmat
Gidding, NelsonScreenplayautor principaltotes les edicionsconfirmat
Killens, John O.autor principaltotes les edicionsconfirmat
McGivern, William P.Novelautor principaltotes les edicionsconfirmat
Polonsky, AbrahamScreenplayautor principaltotes les edicionsconfirmat
Begley, EdActorautor secundaritotes les edicionsconfirmat
Grahame, GloriaActorautor secundaritotes les edicionsconfirmat
Ryan, RobertActorautor secundaritotes les edicionsconfirmat
Winters, ShelleyActorautor secundaritotes les edicionsconfirmat
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No n'hi ha cap

One hundred and fifty thousand dollars, ready for the taking. It's too much to resist for Earl Slater, a bigoted ex-con slumming through life with a patronizing girlfriend, an obliging neighbor and zero expectations. He agrees to be part of a bank job planned by former cop Burke. Until, that is, he finds out one of his partners will be a black man. Earl's desperate need for cash, however, leads him to reconsider. For the job only, he'll put his racism aside ... until moments away from the score, hatred erupts.

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