Release Date: January 30th, 1947 (London premiere)
Directed by: Carol Reed
Written by: R. C. Sherriff
Based on: Odd Man Out by F. L. Green
Music by: William Alwyn
Cast: James Mason, Robert Newton, Cyril Cusack, Kathleen Ryan, F. J. McCormick, William Hartnell, Fay Compton, Denis O’Dea, W. G. Fay, Dan O’Herlihy, Paul Farrell
Two Cities Films, Rank Organisation, 116 Minutes
“I remember. When I was a child, I spoke as a child, I thought as a child, I understood as a child. But when I became a man, I put way childish things. Though I speak with the tongues of men and of angels and have not charity, I am become a sounding brass or a inkling cymbal. Though I have the gift of prophecy and understand all mysteries and all knowledge and though I have all faiths so that I could remove mountains and have not charity… I am nothing.” – Johnny McQueen
For my 2500th film review, I wanted to do something special. Something that I had never seen but that I’ve wanted to watch for quite some time. So I chose a Carol Reed classic, which came out just two years before his magnum opus, The Third Man.
Like The Third Man, this movie has a strong classic film-noir flavor, narratively and aesthetically, and it primarily follows a man traversing the shadowy alleys and corridors of an old European city.
The story is about an escaped convict, played by James Mason, who has been hiding in his girlfriend’s home for six months. On this night, however, he decides to commit a robbery with his old gang. A security guard is killed and the convict ends up getting shot in the shoulder, which leads to him falling out of the escape car during the getaway.
The man hides in a warehouse, as his gang tries to go back and find him. Most of the gang is killed when they are double-crossed by a dame. The convict then tries to make his way back to his girlfriend’s house and meets different people along the way, as he continues to bleed out and desperately needs medical attention.
The film ends rather violently for the time and I guess some of the shots were edited out, as it rubbed the ethics and decency fascists the wrong way. But ultimately, like all things noir at the time, the bad people meet a bad end because balance must be restored to universe.
Like The Third Man, this movie features incredible cinematography, especially in regards to the use of light, shadow and contrast. The film has visual texture and many of the shots are so layered, that they provided the sort of visual depth that wasn’t very common. For an example of this, there is the scene where the tramp comes home, walks up the dilapidated stairs where an opening in the ceiling is dripping water through the center of the composition. Once in his apartment, the shadow from the bird cage spreads over the dark back wall and gives the film that layered depth and feels almost otherworldly.
There are other notable sequences that really show off how talented cinematographer, Robert Krasker, was – the hallucination sequence for instance. This is probably why he was Reed’s choice for The Third Man. Krasker was noted for being influenced by the German Expressionist style, as well as the other visually stunning film-noir pictures of his day.
I can’t put this on the same level as The Third Man but it’s a perfect companion piece to it and if you’re a fan of that movie, you’ll definitely enjoy this one and it will also show you an earlier stage of Carol Reed’s development as a cinematic artist. Everything he employed here, he would employ in his later work.
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