Director: Robert Wise
Screenplay: Abraham Polonsky (as John O. Killens), Nelson Gidding
Based on a Novel by: William P. McGivern
Starring: Harry Belafonte, Robert Ryan, Ed Begley, Gloria Grahame, Shelley Winters, Will Kuluva
Running Time: 96 min
BBFC Certificate: 12
Robert Wise has had a fascinating and hugely successful career. He may not be the household name some of his director contemporaries are, but if you look back at his CV, you’ll see how we cut his teeth as a sound effects editor on some classic mid-thirties films such as two Fred Astaire and Ginger Rogers vehicles, The Gay Divorcee and Top Hat, as well as John Ford’s The Informer. He then moved up to the role of editor, cutting classics such as The Hunchback of Notre Dame (1939) and the great Citizen Kane. After being drafted in by the studio to direct some additional sequences for Orson Welles’ butchered The Magnificent Ambersons, Wise went on to direct his own films. Starting off with B-movies, he proved his worth with classic genre films such as The Day the Earth Stood Still. Throughout his career he worked on a bizarrely diverse series of films, many of which were immensely successful, from Somebody Up There Likes Me, to West Side Story, The Sound of Music, The Andromeda Strain and Star Trek: The Motion Picture. It’s interesting that he’s not as highly regarded as you’d think someone with that many hits under his belt would be. He’s not a director with a clear signature style, so perhaps he’s seen more as a director-for-hire than an auteur, but it’s hard to push him aside when he made films as cherished and popular as he did.
Odds Against Tomorrow is another interesting addition to Wise’s CV. Seeing the director tackle the film noir genre, it’s also especially interesting as it tackles issues of race alongside the usual noir/heist movie tropes. Executively produced by and starring the pop-singer/actor Harry Belafonte, it’s clearly a labour of love for the star, who wanted to make something important and powerful (he was very politically active at the time, supporting the Civil Rights Movement and other humanitarian causes later in life). This makes the film a perfect addition to the BFI’s Black Star season, a selection of films celebrating the range, versatility and power of black actors.