By Michael Wilmington & Film Noir Blonde
The Noir File is FNB’s guide to classic film noir, neo-noir, and pre-noir on cable TV. All movies below are from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).
PICK OF THE WEEK
“Odds Against Tomorrow” (1959, Robert Wise). Tuesday, Jan. 15, 2:15 a.m. (11:15 p.m.). Here is one of the great, underrated film noirs – a movie whose reputation and stature was recognized early on by French critics and has continued to grow over the past half century.
Directed by Robert Wise, and based on a novel by suspense specialist William McGivern (“The Big Heat“), “Odds Against Tomorrow” boasts a riveting and exciting story, unforgettable characters and a social/political allegory that’s pointed and powerful.
Three mismatched New Yorkers – genial, corrupt ex-cop Dave (Ed Begley), brutal ex-con Earl (Robert Ryan) and reckless Johnny (Harry Belafonte), a nightclub entertainer with huge gambling debts – join forces for an upstate bank robbery, a well-planned heist that will supposedly solve all their money problems. But the problems are just beginning. Earl is a racist who hates Johnny on sight and Johnny has a short fuse as well. Things begin to unravel, then explode.
Ryan’s performance is a scorcher; he‘s a perfect villain, bad to the bone. Belafonte’s is compelling and non-clichéd. (He was also one of the producers.) Begley’s is jovial but poignant, a Willy Loman-like salesman peddling his own destruction. The women in the case, a pair of bad blondes – Shelley Winters as Earl’s whining wife and Gloria Grahame as his slutty neighbor – are top-notch.
French noir master Jean-Pierre Melville named “Odds Against Tomorrow” as one of his three all-time favorite movies; the other two were: “The Asphalt Jungle” and “The Best Years of Our Lives.” Along with the 1949 boxing classic “The Set-Up” (which had Ryan in a sympathetic role, as the aging fighter) this is the best of Wise’s crime movies. The screenplay was mostly by the uncredited and blacklisted Abraham Polonsky (“Force of Evil“). The original jazz score is by John Lewis and the Modern Jazz Quartet. The atmospheric black and white cinematography is by Joseph C. Brun (“Edge of the City”).
Tuesday, Jan. 15
10 a.m. (7 a.m.): “Deadline at Dawn” (1946, Harold Clurman). With Susan Hayward and Paul Lukas.
Wednesday, Jan. 16
8 p.m. (5 p.m.) : “Cry Danger” (1951, Robert Parrish). Fast, breezy revenge yarn, with Dick Powell looking for payback, and Rhonda Fleming, William Conrad and William Erdman standing by.
12:45 a.m. (9:45 a.m.): “The Breaking Point” (1950, Michael Curtiz). With John Garfield and Patricia Neal.
2:30 a.m. (11:30 p.m.): “The Prowler” (1951, Joseph Losey). With Van Heflin and Evelyn Keyes.
Friday, Jan. 18
4 p.m. (1 p.m.): “Notorious” (1946, Alfred Hitchcock). With Cary Grant, Ingrid Bergman and Claude Reins.
Saturday, Jan. 19
10:45 a.m. (7:45 a.m.): “The Big Knife” (1955, Robert Aldrich). Clifford Odets’ backstage Hollywood shocker of a play is like a faceful of acid, and director Aldrich pulls no punches. Jack Palance is the beleaguered movie star Charlie Castle; surrounding him in an infernally corrupt studio system are Ida Lupino, Rod Steiger, Shelley Winters and Everett Sloane.
8 p.m. (5 p.m.): “Lolita” (1962, Stanley Kubrick). With James Mason, Sue Lyon and Peter Sellers.
3 a.m. (12 a.m.): “I Died a Thousand Times” (1955, Stuart Heisler). Color and Cinemascope remake of the Raoul Walsh–Humphrey Bogart–Ida Lupino gangster saga “High Sierra,” with the original stars replaced by Jack Palance and Shelley Winters. Inferior, but not awful. With Lee Marvin in his snarl mode.