In post-World War II Berlin, the British Susanne Mallison travels to Berlin to visit her older brother Martin Mallison, a military man who married German Bettina Mallison. The naive Susanne... See full summary »
Three vignettes of old Irish country life, based on a series of short stories. In "The Majesty of the Law," a police officer must arrest a very old-fashioned, traditional fellow for assault... See full summary »
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.Written by
Eduardo Casais <email@example.com>
The Crown Bar in the center of Belfast has long been associated with the movie, although in fact, contrary to popular opinion, it was not actually used in the filming. Instead a copy was made on set in England. It shows all the familiar ornate features of the real thing, but was more spacious and laid out in a different way. See more »
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. See more »
Odd Man Out is unusual from so many angles, that Carol Reed seems to have invented the point of view, the atmosphere and the characterizations.
The camera angles are particularly interesting. Shot at ground level, looking up. Shot from above looking down. Shadows dance around corners. Perspective is distorted.
Certainly this was James Mason's best role and he shines as the man not used to daylight, (from rotting in prison for many years), who must lead a daring daylight raid that fails, because the sun gets in his eyes at the critical moment.
The rest of the film is built on what happens to Mason next. He meets many characters who use him for their own ends. He becomes a metaphor. The helpless victim in an almost Kafka-esk world.
Newton is, as always, visually arresting. His mastery over the spoken language is stunning here as he cajoles Mason to sit for his portrait.
The end of this film is classic and shocking and should never be revealed. It must be seen with no fore-knowledge for the best effect.
No longer available for purchase, your best bet to see this extraordinary film is to find a Video rental outlet that specializes in British film. Well worth the effort. A MUST SEE for James Mason/Robert Newton fans and for people who love original film work.
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