| James Mason | ... | Johnny McQueen | |
| Robert Newton | ... | Lukey | |
| Cyril Cusack | ... | Pat | |
| F.J. McCormick | ... | Shell | |
| William Hartnell | ... | Fencie | |
| Fay Compton | ... | Rosie | |
| Denis O'Dea | ... | Inspector | |
| W.G. Fay | ... | Father Tom | |
| Maureen Delaney | ... | Theresa O'Brien | |
| Elwyn Brook-Jones | ... | Tober | |
| Robert Beatty | ... | Dennis | |
| Dan O'Herlihy | ... | Nolan | |
| Kitty Kirwan | ... | Grannie | |
| Beryl Measor | ... | Maudie | |
| Roy Irving | ... | Murphy | |
| Joseph Tomelty | ... | 'Gin' Jimmy, the cabbie | |
| Arthur Hambling | ... | Tom | |
| Ann Clery | ... | Maureen | |
| Maura Milligan | |||
| Maureen Cusack | |||
| Eddie Byrne | ... | Policeman - in final scene | |
| Kathleen Ryan | ... | Kathleen Sullivan | |
| rest of cast listed alphabetically: | |||
| Wilfrid Brambell | ... | Standing Passenger on Tram (uncredited) | |
| Dora Bryan | ... | Girl in Telephone Kiosk (uncredited) | |
| Harry Hutchinson | ... | Waiter in Crown Bar (uncredited) | |
| Geoffrey Keen | ... | Soldier (uncredited) | |
| Madam Kirkwood-Hackett | ... | Minor Role (uncredited) | |
| Pat McGrath | ... | (uncredited) | |
| Maurice Millard | ... | (uncredited) | |
| Noel Purcell | ... | Tram Conductor (uncredited) | |
| Guy Rolfe | ... | Policeman Watching Kathleen's House (uncredited) | |
Directed by | |||
| Carol Reed | |||
Writing credits | ||
| F.L. Green | (by) | |
| F.L. Green | (screenplay) and | |
| R.C. Sherriff | (screenplay) | |
Produced by | |||
| Carol Reed | .... | producer | |
| Phil C. Samuel | .... | associate producer (as Phil. C.Samuel) | |
| Herbert Smith | .... | executive producer in charge of production (uncredited) | |
Original Music by | |||
| William Alwyn | |||
Cinematography by | |||
| Robert Krasker | (director of photography) | ||
Film Editing by | |||
| Fergus McDonell | |||
Casting by | |||
| Irene Howard | (uncredited) | ||
Art Direction by | |||
| Ralph W. Brinton | (as Ralph Brinton) | ||
Makeup Department | |||
| Tony Sforzini | .... | makeup artist (uncredited) | |
Production Management | |||
| Frank Bevis | .... | production manager | |
| Filippo Del Giudice | .... | in charge of production (as F. Del Giudice) | |
Second Unit Director or Assistant Director | |||
| Mark Evans | .... | assistant director | |
| Tony Hearne | .... | second assistant director (uncredited) | |
Art Department | |||
| Roger K. Furse | .... | production decor (as Roger Furse) | |
| E. Lindegaard | .... | backings (as F. Lindegaard) | |
| E.W. Brister | .... | scenic artist (uncredited) | |
| Colleen Browning | .... | scenic artist (uncredited) | |
| Betty Pierce | .... | assistant art director (uncredited) | |
| Stanley Yeomanson | .... | assistant constructor (uncredited) | |
Sound Department | |||
| Desmond Dew | .... | sound recordist | |
| Sash Fisher | .... | sound recordist (as A.Fisher) | |
| Harry Miller | .... | sound editor | |
| Peter Davies | .... | assistant dubbing mixer (uncredited) | |
| Bill Lewthwaite | .... | sound assistant (uncredited) | |
| John W. Mitchell | .... | production sound mixer (uncredited) | |
Special Effects by | |||
| Stanley Grant | .... | special effects | |
| Bill Warrington | .... | special effects | |
Camera and Electrical Department | |||
| H.A.R. Thomson | .... | camera operator (as Russell Thomson) | |
| Davis Boulton | .... | still photographer (uncredited) | |
| Alan Cullimore | .... | assistant camera (uncredited) | |
| Laurie Friedman | .... | camera operator (uncredited) | |
| Maurice Gillett | .... | electrician (uncredited) | |
| Gerry Massy-Collier | .... | focus puller (uncredited) | |
Casting Department | |||
| Maude Spector | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Peggy Henderson | .... | wardrobe buyer (uncredited) | |
Editorial Department | |||
| Geoffrey Muller | .... | assistant editor (uncredited) | |
Music Department | |||
| Muir Mathieson | .... | conductor | |
| George Stratton | .... | leader: The London Symphony Orchestra | |
Other crew | |||
| Olga Brook | .... | continuity (as Olga Brooks) | |
| Cecil F. Ford | .... | advisor: Irish (as Cecil Ford) | |
| Joseph Tomelty | .... | advisor: Irish | |
| George Leech | .... | stand-in: Mr. Mason (uncredited) | |
| J. Arthur Rank | .... | presenter (uncredited) | |
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| I Became a Criminal | Breakfast on Pluto | Burnt Money | The Night of the Hunter | The Battle of Algiers |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb UK section |
It is the winter of 1946-47. Johnny McQueen (James Mason) is a revered leader of the Irish Republican Army in Belfast, Northern Ireland. Recently escaped from prison, he plans to rob a mill to provide funds for the organization though his colleagues urge him not to be involved. Awarded Best British Film at the British Academy Awards and nominated for an Oscar for Best Editing, Odd Man Out, directed by Carol Reed (The Third Man), is the story of a botched robbery that leads to murder and the attempt of a seriously wounded man to elude capture. Pursued by "The Inspector" (Dennis O'Dea), Johnny is helped by Kathleen Sullivan (Kathleen Ryan), a young IRA woman who loves him and tries to smuggle him out of the city. He wanders helplessly in the dark streets and alleys of Belfast, buffeted by rain and snow, living in cellars with derelicts, constantly exposed to danger, looking more like a walking zombie than a revolutionary. The tone of the film is dark and Kafkaesque with its thin line between reality and nightmare.
Johnny is one of Mason's best roles especially during the early part of the film but he is submerged in the second half by a string of exaggerated supporting characters that include a demented painter Lukey (Robert Newton) who wants to paint his death mask, a priest (W.G. Fay) who wants to save his soul, sisters Rosie and Maudie (Fay Compton and Beryl Measor) who give him shelter but force him out, and con man Shell (F.J. McCormick) who wants to use him to make money. Odd Man Out is not a political film or even a suspense thriller but a surreal allegory of the limits of man's compassion. When Lukey looks at Johnny and says, "I understand what I see in him. The truth about us all", we can see ourselves -- running for our life, scared and alone, awaiting the encroaching night.