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Odds Against Tomorrow

Odds Against Tomorrow is a 1959 American film noir directed and produced by Robert Wise, starring Harry Belafonte as nightclub performer Johnny Ingram, Robert Ryan as racist ex-convict Earl Slater, and Ed Begley as disgraced ex-cop Burke. The plot centers on the trio's ill-fated bank heist in New York City, where Slater's overt racial animosity toward Ingram undermines their partnership and leads to catastrophe amid escalating tensions. Adapted from William McGivern's 1957 novel of the same name, the screenplay by Nelson Algren and John D. Kinnard draws from the source material's exploration of desperation and prejudice, with Belafonte serving as co-producer through his HarBel Productions. Released during a period of heightened civil rights awareness, the film stands out for its unflinching depiction of interpersonal racism within a crime narrative, featuring stark black-and-white cinematography by Joseph Brun that captures urban grit and psychological strain. Critical reception has praised its tense pacing and thematic boldness, earning an 88% approval rating on Rotten Tomatoes and recognition as a progressive entry in the noir genre for addressing racial dynamics explicitly at the time.

Synopsis

Plot Summary

In Odds Against Tomorrow, disgraced former New York City policeman David Burke recruits two men for a bank robbery in the small upstate town of Melton: Earl Slater, a racist ex-convict and unemployed Southerner living with his girlfriend Lorry, and Johnny Ingram, a Black jazz nightclub singer indebted to the mob from gambling losses. Burke, who served prison time after refusing to testify against organized crime figures, targets the bank's vault containing approximately $200,000 in untraceable cash, exploiting the routine arrival of the armored car and the presence of a Black janitor to facilitate entry. Slater, emasculated by his financial dependence on Lorry and prone to violent outbursts—including an on a neighbor's —agrees to participate for a promised share, but his deep-seated manifests immediately upon learning Ingram's involvement, refusing to shake hands and using racial slurs. Ingram, a single father estranged from his partner Ruth and young daughter Kelly due to his addictions, joins reluctantly to settle his $7,500 debt to mobster Bacco, maintaining a cool demeanor amid Slater's hostility. The trio scouts the bank, finalizing a plan where Ingram poses as the to admit Slater and through a side door. On the night of the heist, after tense preparations marked by interpersonal conflicts—including Slater's argument with Lorry and Ingram's failed reconciliation attempt with his family—the men execute the robbery. Ingram distracts and subdues the by leveraging his , allowing entry; they subdue the manager and secure the cash. During the escape, however, Slater panics and shouts Ingram's real name "" instead of the agreed code "Jack," alerting pursuing . A chaotic chase ensues, with Burke mortally wounded and dying after urging the others to flee with the money. Slater and Ingram take refuge in a nearby industrial area with fuel tanks, where escalating racial animosity culminates in a deadly confrontation: Ingram shoots Slater after a struggle over the loot, but stray bullets ignite an explosion that engulfs and kills both, leaving their charred bodies indistinguishable. The film concludes with a "DEAD END" street sign, underscoring the self-destructive outcome.

Cast and Characters

Principal Roles and Performances

Harry Belafonte stars as Johnny Ingram, a Black nightclub singer and compulsive gambler whose debts to a mobster force him into the heist, portraying a character driven by financial desperation yet marked by personal flaws like recklessness and strained relationships. His performance is widely regarded as Belafonte's most sustained dramatic effort, balancing poised charisma with underlying vulnerability and moral ambiguity, including Ingram's own less savory traits such as marital abandonment through gambling. Critics have highlighted Belafonte's ability to convey self-containment amid racial friction, making Ingram a complex figure rather than a simplistic victim. Robert Ryan plays Earl Slater, a racist, embittered ex-convict and veteran whose prejudice erupts in conflicts with Ingram, compounded by his volatile living situation with neighbor . Ryan's portrayal is intense and commanding, leveraging his to depict Slater's brooding bigotry and self-destructive tendencies as authentically pathetic rather than caricatured, earning praise as one of his finest roles in embodying venomous rooted in personal failure. Ed Begley portrays David Burke, the retired policeman turned criminal planner who recruits the others for the armored car robbery, driven by his own greed and isolation. Begley's performance anchors the scheme's inception with understated menace, contributing to the trio's volatile dynamic alongside Belafonte and Ryan. Gloria Grahame appears as Helen, Slater's seductive and opportunistic neighbor who becomes his lover, adding layers of interpersonal tension to the pre-heist buildup. Her role emphasizes era-specific sensuality and relational instability, delivered with effective subtlety in conveying lust and dependency. Shelley Winters plays Lorry, Ingram's supportive yet exasperated girlfriend, providing emotional grounding amid his turmoil. Director Robert Wise elicited strong ensemble work, with the leads' chemistry underscoring the film's exploration of prejudice and greed through realistic character flaws.

Production

Development and Source Material

The film Odds Against Tomorrow is an adaptation of the crime novel of the same name by William P. McGivern, first published in 1957 by Dodd, Mead & Company. McGivern's story centers on two desperate criminals—a white ex-convict harboring racial prejudices and a nightclub singer in debt to —who join a third partner in a that exposes deep-seated tensions. Development began under HarBel Productions, co-founded by in 1957 to produce films addressing social issues, including racial prejudice, which Belafonte identified as central to the novel's appeal amid the . , who also starred as the singer Johnny Ingram, selected the project to explore interracial conflict realistically, enlisting director , known for socially aware works like , to helm production. The screenplay was adapted from McGivern's novel by , a blacklisted writer due to his refusal to testify before the in 1951, who worked uncredited under the pseudonym John O. Killens, a novelist serving as a front to circumvent Hollywood's restrictions on listed individuals. Some production credits list Nelson Gidding as co-adapter, though Polonsky's authorship is widely acknowledged in historical accounts of the blacklist's impact on the industry. This arrangement allowed Polonsky, whose prior credits included Body and Soul (1947), to contribute despite professional ostracism, aligning the script's emphasis on prejudice and fatalism with the source material's themes. Principal photography commenced in 1959, with handling distribution.

Filming and Locations

Principal photography for Odds Against Tomorrow began on February 24, 1959, at Gold Medal Studios in , where interior scenes were filmed, before transitioning to extensive on-location shooting in and , to achieve a documentary-like in capturing urban and small-town environments. Director emphasized authentic outdoor settings throughout, with cinematographer Joseph Brun employing natural lighting and actual cityscapes to underscore the film's gritty atmosphere. In , exteriors depicted the protagonists' seedy lives amid tenement apartments, parks, and streets, including sequences at West 143rd Street near the Norcit Hotel (617 West 143rd Street), where Earl Slater's opening walk occurs; the Hotel Juno at 660 Riverside Drive for a key meeting; Central Park's , carousel, and for clandestine discussions; East 26th Street (236 East 26th Street) for apartment visits; and at 391 Third Avenue (corner of East 28th Street) for bar scenes. These locations highlighted the characters' entrapment in a decaying metropolis, with visible landmarks like the New York Life Insurance tower and the since-demolished 28th Street El station adding period specificity. Hudson, New York, stood in for the fictional small town of Melton, site of the central bank , with principal action unfolding along Warren Street—including the at 561 Warren Street (exterior and robbery approach), Eagle Drug Store at 608 Warren Street, and at 701 Warren Street—and nearby areas such as Rossman Avenue (9-21 Rossman Avenue) for residential establishing shots, Union Turnpike (181 Union Turnpike) featuring the V&O factory and , Columbia Street (119 Columbia Street) for industrial backdrops, the Ferry Street bridge over train tracks, Promenade Hill near the statue, and Riverfront Park for the climactic explosion sequence at a former tank field. This upstate river town provided a stark contrast to Manhattan's density, emphasizing isolation and escalating tensions during the nighttime .

Musical Score

The musical score for Odds Against Tomorrow was composed and conducted by John Lewis, pianist and founder of the Modern Jazz Quartet (MJQ). Lewis, known for blending classical influences with jazz in the third stream genre, crafted an original jazz-based soundtrack that marked one of his early major film scoring efforts, following his work on No Sun in Venice. The score features MJQ members including Percy Heath on bass and Connie Kay on drums, emphasizing cool jazz elements with piano-driven motifs to underscore the film's noir tension and urban grit. Characterized as moody, jagged, and aggressive, the music employs dissonant harmonies and rhythmic urgency to heighten dramatic sequences, such as heists and confrontations, while reflecting themes of racial conflict and moral decay through improvisational-like phrasing. Key cues include "Prelude to Odds Against Tomorrow," which sets a foreboding tone; "A Cold Wind Is Blowing," evoking ; and "Five Figure People Crossing Paths," capturing the film's intersecting lives amid City's underbelly. Other tracks like "How to Frame Pigeons" and "Waltz for Debby" (adapted from Lewis's prior compositions) integrate diegetic scenes with non-diegetic underscoring, performed by session musicians to maintain authenticity. The soundtrack was released on vinyl by in 1959 as Odds Against Tomorrow (Original Music From The Motion Picture Soundtrack), compiling six primary pieces distilled for commercial appeal. The MJQ later interpreted these themes on their 1960 Music from Odds Against Tomorrow (also titled Patterns), expanding the score's reach in circles without altering its core cinematic intent. Critics have praised the score's innovation as one of the earliest full compositions for a feature, enhancing the film's realism over orchestral conventions typical of the era.

Themes and Motifs

Racial Tensions and Realism

Odds Against Tomorrow centers racial tensions on the volatile partnership between Johnny Ingram (Harry Belafonte), a Black nightclub singer burdened by gambling debts, and Earl Slater (Robert Ryan), a white ex-convict harboring deep-seated racial prejudice. Slater initially resists collaborating with Ingram, employing slurs and expressing disdain rooted in Southern bigotry, yet necessity forces their alliance for a bank heist planned by former policeman Dave Burke (Ed Begley). This dynamic underscores how personal animosities exacerbate the criminals' precarious situation, with Slater's racism manifesting in verbal barbs and physical confrontations that erode trust. The film's realism emerges in its unvarnished depiction of as a causal force derailing the heist: during the escape, Slater's momentary hesitation—stemming from his refusal to follow Ingram's lead—sparks a fatal brawl amid encroaching flames, resulting in both men's deaths. Shot on location in and , with stark cinematography, the narrative integrates social commentary into conventions, portraying Ingram not as a but as a flawed yet paternal figure resisting patronization. This approach contrasts with contemporaneous tendencies toward sanitized race portrayals, emphasizing entrenched societal racism amid the pre-Civil Rights Act era's rising conflicts, such as the 1957 Little Rock crisis. Produced by Belafonte's HarBel Productions with a screenplay by blacklisted writer , the film advances a truth-seeking examination of racism's self-destructive consequences, prioritizing causal over moralizing. Contemporary critics noted its blunt handling of , with observing Belafonte's character as a "victim of that is brutally blunt," though questioning its potential to inflame rather than resolve tensions. Modern assessments praise its pioneering status as one of the first major noirs featuring a , blending grit with authentic racial dynamics that indict 's irrational override of self-interest.

Crime, Greed, and Self-Destruction

The central crime in Odds Against Tomorrow revolves around a meticulously planned but ultimately botched in the fictional town of Melton, , orchestrated by three financially desperate men whose greed overrides rational caution. Earl Slater (), a volatile racist ex-convict scraping by through petty hustles and dog-walking, agrees to the to settle debts and sustain his aimless existence. Johnny Ingram (), a singer entangled with mob lenders after failed investments, views the score as his escape from escalating threats of violence. Their recruiter, David Burke (Ed Begley Sr.), a disgraced former policeman blinded in an unrelated incident, leverages his intimate knowledge of the bank's layout—gained from his past patrols—to position himself as the radio lookout, driven by a mix of redemption fantasies and the need to support his estranged wife. Greed propels the trio's alliance despite profound incompatibilities, as each perceives the robbery's $50,000-plus haul as a singular path to autonomy amid economic precarity for working-class New Yorkers. The scheme unfolds on a frigid winter night: Ingram, leveraging his charm, distracts the bank manager's child to slip inside undetected, while Slater provides external cover with a , and relays updates from a parked van. Yet, the operation unravels not from external forces alone but from internal fissures exacerbated by avarice-fueled . Slater's possessive over the prime role—stemming from his refusal to defer to Ingram—leads to a heated exchange that distracts Ingram, causing him to fumble and drop the critical needed for the . This error alerts patrolling officers, sparking a chaotic that leaves mortally wounded and forces Slater and Ingram into a desperate evasion. Self-destruction manifests starkly in the heist's climax, where the robbers' flight culminates at a remote industrial stocked with . Trapped by pursuing , Slater and Ingram—each clutching bags of cash—descend into mutual recriminations, their racial ignited by the ordeal's . In a final, ironic spasm of , they exchange gunfire across the silo's catwalks, igniting spilled oil that engulfs them in flames; both perish amid the , their greed-reduced fortunes scattering into the void. This denouement illustrates how the characters' criminal pursuits, rooted in unchecked , amplify personal defects—Slater's bigotry, Ingram's of peril, Burke's delusional —rendering cooperation impossible and ensuring collective ruin. Contemporary reviewers framed the narrative as a cautionary , wherein greed's corrosive logic, intertwined with , dooms the perpetrators to self-inflicted rather than triumphant . The 's emphasis on psychological unraveling over mechanical plot twists highlights causal chains of flawed : initial debts compound through , alliances form under duress, and execution falters amid unchecked impulses, yielding not but . This thematic undercurrent critiques the era's underbelly of , where individual avarice mirrors broader societal frailties without offering moral .

Release and Commercial Performance

Premiere and Distribution

Odds Against Tomorrow premiered in the United States on October 15, 1959. The initial release was limited, beginning in Chicago on October 13, with wider distribution following shortly thereafter. United Artists served as the primary distributor for the film's theatrical release in the United States and United Kingdom during 1959. Internationally, it reached markets including Italy via Dear Film in 1960 and Norway through Kommunenes Filmcentral. The distribution aligned with the film's production by HarBel Productions, Harry Belafonte's company, in association with United Artists.

Box Office Results

Odds Against Tomorrow grossed approximately $1.8 million in domestic receipts in 1959, placing it 121st among the year's top-grossing films. This figure, derived from historical rental data converted to estimated grosses typical for the period, underscores the film's limited commercial appeal compared to major releases like , which exceeded $70 million. No international earnings or details are reliably documented in contemporary trade reports, though the film's racial themes and genre likely constrained its broader audience draw.

Critical Reception

Contemporary Responses

Upon its premiere on October 15, 1959, at the Victoria Theatre in , Odds Against Tomorrow elicited praise from critics for its taut suspense, gritty realism, and strong ensemble performances, particularly those of as the racist ex-gambler Earl Slater and as the reluctant participant Johnny Ingram. of lauded director Robert Wise's "tight, strong direction" and the film's "documentary-style" authenticity, achieved through location shooting in and , describing the dramatic build-up as possessing an "artistic caliber...rarely achieved on screen." He highlighted Ryan's "brilliant" portrayal of ingrained hatred, Belafonte's sympathetic firmness, and Ed Begley's solid turn as the scheming ex-cop, while commending supporting roles by , , and others as "fine." Critics noted the film's central theme of racial prejudice undermining a , with Crowther observing that it presented an "uncommon message" of self-destructive bigotry, though he cautioned that depicting the white Slater as a "hateful " and the black Ingram as more heroic might not advance interracial understanding and could unsettle audiences predisposed to . The production, backed by Belafonte's Harbel Productions, was viewed as a bold step in crime melodrama, blending conventions with on amid the early Civil Rights era, yet some responses emphasized its entertainment value over didacticism, avoiding overt preachiness. Overall, initial reviews positioned the film as a compelling, hard-edged rather than a , with its technical prowess—including Wise's pacing and the integration of elements in the score—earning commendation for elevating standard tropes into something visually and narratively authentic. While not universally hailed as a , it garnered respect for tackling interracial dynamics in a genre typically dominated by white leads, marking a notable, if contentious, entry in cinema.

Awards and Nominations

Odds Against Tomorrow received a single major award nomination during its initial release cycle. At the 17th Golden Globe Awards held on March 5, 1960, the film was nominated in the category of Best Motion Picture Promoting International Understanding, recognizing works that foster cross-cultural awareness and harmony. This nomination highlighted the film's exploration of racial tensions in a heist narrative, though it ultimately did not win, with the award going to The Diary of Anne Frank. No other Academy Awards, BAFTA recognitions, or major festival prizes were bestowed upon the production at the time. Later retrospectives, such as screenings at the Locarno International Film Festival in 2019, have acknowledged its enduring relevance but did not confer retrospective honors.

Modern Assessments and Reappraisals

In recent decades, Odds Against Tomorrow has been reappraised as a prescient that boldly confronts racial prejudice within the genre's conventions, earning praise for its unflinching depiction of interracial tension during a gone awry. Critics highlight its status as one of the earliest major productions to feature a in a leading role, with Harry Belafonte's portrayal of Johnny Ingram serving as a complex anti-hero driven by personal demons rather than . This aspect, combined with the screenplay by blacklisted writer (credited pseudonymously at the time but restored later), positions the film as a of systemic in mid-20th-century America, where white bigotry—embodied by Robert Ryan's Earl Slater—precipitates self-destruction. Modern reviewers emphasize the film's enduring relevance, particularly its exploration of how and amplify social divides, themes that resonate amid ongoing discussions of racial dynamics in narratives. A 2018 analysis described it as an "incisive, gorgeously constructed exploration of racial and ," utilizing tropes like shadowy and fatalistic plotting to underscore causal links between and downfall. Upon Belafonte's death in 2023, obituaries and retrospectives lauded the film as a rare 1950s starring a lead, crediting director for integrating racial realism without diluting the genre's tension. Such reappraisals contrast with its initial mixed reception, noting how contemporary sensibilities appreciate its naturalistic approach over . The 2024 Kino Lorber Blu-ray release, featuring a new 2K restoration from original elements, has spurred further acclaim for the film's technical prowess, including Joseph Brun's infrared that enhances its ominous atmosphere and Joseph C. Wright's production design evoking . Reviewers affirm its suspenseful pacing and character depth, with one calling it "as tense, thrilling, and relevant today as it was in " for its pointed racial critique amid a volatile ensemble. Aggregated scores reflect this revival, with reporting an 88% approval rating from critics who value its blend of genre thrills and . However, some analyses caution that while progressive for , the film's portrayal of racial conflict through interpersonal antagonism may overlook broader institutional factors, though its focus on individual agency aligns with noir's emphasis on personal moral failings.

Legacy and Influence

Cultural and Cinematic Impact

Odds Against Tomorrow is regarded as the final classic , concluding the genre's black-and-white era with its integration of racial prejudice into the narrative, a theme that underscored the social tensions of late-1950s America amid the emerging . The film's portrayal of interpersonal , particularly between white ex-cop Earl Slater () and Black nightclub singer Johnny Ingram (), highlighted how prejudice exacerbates criminal self-destruction, influencing subsequent depictions of race in crime genres by emphasizing causal links between bigotry and downfall rather than abstract moralism. Cinematically, the production marked the debut feature edit for , whose innovative techniques—such as rapid cutting during the climactic shootout—influenced her later work on films like (1967) and resonated with European directors experimenting with montage and . Robert Wise's use of handheld cameras and on-location filming in anticipated aesthetics, contributing to the film's gritty realism and its role as a bridge from classical style to more fragmented, modern narratives. This technical legacy extended to trends, where the film's transnational undertones—foreshadowing globalized crime stories—anticipated later works blending racial dynamics with genre conventions. Culturally, Belafonte's co-production and starring role advanced Black representation in mainstream , challenging by presenting Ingram as a complex anti-hero driven by economic desperation rather than , a rarity in when most films relegated Black characters to periphery. The screenplay, penned by blacklisted writer under a , embedded leftist critiques of systemic without overt , impacting discussions on 's handling of civil rights-era themes and underscoring the blacklist's lingering effects on subversive . Its enduring relevance lies in this unflinching causal realism: racial animus not as incidental but as a destructive force amplifying greed's consequences, a echoed in reappraisals noting its prescience for ongoing American racial fractures.

Restorations and Home Media Releases

A 2K remaster of Odds Against Tomorrow was produced to facilitate high-definition presentations, improving image clarity and detail over prior standard-definition transfers while preserving the film's original 1.85:1 and . This remaster served as the basis for Blu-ray editions, addressing issues like the greenish tint noted in earlier DVD transfers. Home media releases began with Home Entertainment's Region 1 DVD on December 2, 2003, encoded in full-frame format with mono audio but limited by source material quality. Films followed with the film's Blu-ray debut on May 29, 2018, utilizing the 2K remaster for presentation alongside 2.0 mono, though retaining some analog-era audio artifacts such as minor pops. Kino Lorber Studio Classics issued a Blu-ray on January 9, 2024, drawn from the identical 2K remaster, featuring enhanced packaging and supplemental materials including audio commentary, but no further audio restoration beyond the prior release. In the , the released a dual-format Blu-ray and DVD set, offering superior contrast and detail compared to the 2003 disc. No 4K UHD edition has been announced as of 2025.

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