Odd Man Out (1947)

A wounded Irish nationalist leader attempts to evade police following a failed robbery in Belfast.

Director:

Carol Reed

Writers:

F.L. Green (by), F.L. Green (screenplay)

Stars:

James Mason, Robert Newton, Cyril Cusack

Nominated for 1 Oscar. Another 2 wins & 1 nomination.

Cast

Cast overview, first billed only:
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

Storyline

Johnny McQueen, leader of a clandestine Irish organization, has been hiding in the house of Kathleen and her mother, planning a hold-up that will provide his group with the funds needed to continue its activities. During the hold-up, things go sour: Johnny is wounded, cannot make it back to the hideout, and disappears in the back-alleys of Belfast. Immediately, a large-scale man-hunt is launched, and the city is tightly covered by the constabulary, whose chief is intent on capturing Johnny and the other members of the gang. Kathleen sets out in search of Johnny.

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Plot Keywords:

police | love | irish | northern ireland | belfast | 

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Taglines:

An adventure in unbearable suspense !

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Genres:

Crime | Drama | Film-Noir | Thriller

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Certificate:

Not Rated

Details

Country:

UK

Language:

English

Release Date:

23 April 1947 (USA)

Also Known As:

Gang War

Filming Locations:

Belfast, County Antrim, Northern Ireland, UK

Company Credits

Production Co:

Two Cities Films

Technical Specs

Runtime:

116 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

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Goofs

When Johnny falls from the car into the road, the first long shot shows him in sunlight near the middle of the road and opposite a gutter. A later shot shows him still in sunlight near the middle of the road, but he has now been moved back so he is opposite the intersecting road, so that when he rises he can run straight down that road.

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Quotes

Lukey: [about painting a portrait of the wounded Johnny McQueen] There's something to be said about him before he dies.
Tober: And about all of us.
Lukey: I understand what I see in him.
Tober: What is it?
Lukey: It's the truth about us all.
Tober: Is that all?
Lukey: He's doomed.
Tober: So are we all.

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Crazy Credits

Opening credits prologue: This story is told against a background of political unrest in a city of Northern Ireland.

It is not concerned with the struggle between the law and an illegal organisation, but only with the conflict in the hearts of the people when they become unexpectedly involved.

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Connections

Referenced in L.A. Noire (2011)

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Soundtracks

Symphony No. 8 (Unfinished)
(uncredited)
Music by Franz Schubert

User Reviews

A Snowy Night In Belfast

One of the most beautifully directed (Carol Reed) and photographed (Robert Krasker) films I have seen. The story revolves around the attempts of various citizens of Belfast to either aid, comfort or kill a wounded revolutionary gunman. A great deal has been written about this picture, concerning mostly its meaning, and I'm going to (heretically) skip over these issues and focus instead of why I think the film works so well as a piece of art rather than try to figure out what it's saying.

Essentially what Reed and Company have done is create a dark and gloomy urban landscape and made it seductive, even precious to us, by making us care about the people we meet there. Not that these are especially likable people. Many of them aren't, but they're presented fairly and, till near the end, without too much melodrama; and the way they're offered to us, which is to say their environments, vastly warmer and more enticing than the cold night streets the bleeding fugitive is staggering through, create a series of dramatic contrasts between the real world most of us have to move through, and the more imaginative, safer worlds of our homes, where we can retreat to, and imagine we are something else. The wounded Johnny McQueen can afford no such luxury on this bitter night, as each little warm nest offers, for a brief while, a ray of hope that this time he will come in from the cold for good, get warm, rest a little, have his wounds taken care of, and maybe even, if he gets really lucky, find himself a warm bed to sleep in.

Alas, this is not Johnny McQueen's night. Some of the people he encounters treat him decently enough for a while, till they figure out who he is, and then calculation sets in, and selfishness wins out in the end. The film is full of the kind of nocturnal yearnings anyone who has ever lived in a cold city feels as he walks the streets, whether to a pub or train station, home or restaurant, wondering what on earth he is doing out on a night such as this. One goes past this little rowhouse on a sidewalk, or that little walk-down cafe, and looks in the window, sees the people inside, and wishes one were there. Yet cold nights have their pleasures, and even rain has a beauty, as puddles reflect the light of streetlamps and rain-streaked windows make rooms that much more inviting.

Odd Man Out takes these moods, and the musings that accompany them, and raises everything to the max. Johnny isn't merely a man walking down a street, he's a hunted criminal. As we feel as he does, everything comes more intensely into focus than it would normally; as a phone booth can look like the most wonderful place in the world when the snow starts falling. The film makes us see and feel things as we seldom do in normal life, and the result is a kind of compulsive aestheticism that may well be accidental. Anything is or can be beautiful under the right circumstances, and all interior places are inviting when the temperature drops, one hasn't eaten in hours. I suspect that this wasn't the film-makers' intention, that they were hunting bigger game, looking for larger meanings, and the trappings of their picture were intended perhaps as incidental pleasures, or maybe not as pleasures at all. But it is precisely these things,--the visual tropes, not the philosophical and theological underpinnings--that I find most interesting and gratifying about the movie. In the end films have their own meaning, and this one makes me more attentive to the smaller things in life rather than the larger issues; to snow, rain, beer, to boots and overcoats, to the thin white blankets of snow that drape cities on winter nights.