Odd Man Out, directed by Carol Reed, masterfully blends noir, tragedy, and suspense, resulting in a flawlessly crafted British thriller that leaves an indelible cinematic mark.
The film follows Johnny McQueen (James Mason), the leader of a clandestine Irish National Organization, who, while hiding out in the house of Kathleen (Kathleen Ryan) and her grandmother (Kitty Kirwan), plots a high-stakes heist with his group members to raise funds to run the organization. Despite Kathleen’s and some of his members’ concerns about his health, Johnny participates in the heist. Unfortunately, things go awry, and Johnny ends up injuring himself, murdering a person by accident, becoming separated from his group, and finding himself on the run. As a result, police launch a large-scale manhunt to track down Johnny and the other gang members. While escaping, Johnny crosses paths with various individuals, each seeking him for their own diverse interests.
Odd Man Out initially unfolds like a typical crime drama, with a group of men plotting a robbery. However, when the heist goes wrong, the film takes unexpected turns. Injured and fleeing, Johnny is being hunted by the police, with a reward offered for his capture. The film does not turn out to be just another cat-and-mouse crime thriller between cops and criminals; it’s way more complex than that. Here, the film explores the themes of human exploitation and opportunism as Johnny, who is on the run and struggling for his life, encounters a variety of individuals who attempt to exploit his situation for their benefit.
Among the characters are Shell (F.J. McCormick), who plans to turn Johnny for reward money; Lukey (Robert Newton), an eccentric painter and Shell’s neighbor, who wants to use Johnny to quench his artistic thirst; and Tober (Elwyn Brook-Jones), a failed doctor, who intends to diagnose Johnny to prove his worth as a doctor. Even Kathleen thinks she’s head over heels for him, but as the priest Father Tom (W.G. Fay) points out, she’s just being selfish and inconsiderate by the obsession of wanting Johnny to herself and doesn’t care about his situation, what he’s done, or what he wants.
Odd Man Out is also noteworthy for its masterful cinematography by Robert Krasker, who expertly utilized the cityscape to heighten the mood of the picture, setting the stage for the signature style that would later characterize Reed’s work, especially in his most celebrated film, The Third Man (1949). The way Belfast is filmed by Robert Krasker, particularly the night sequences while Johnny is moving around the city, transforms the city into another character, contributing to the film’s oppressive, claustrophobic mood with unrelenting rain, snow, and mist. As Johnny spirals further and further into mental and physical decline, Krasken’s trademark depiction of the city—featuring hazy beams of light penetrating dark pools, rain-glistening cobblestones, shadows slipping through the walls, and narrow alleys leading into the unknown—helps to paint Belfast as a frigid and unwelcoming maze populated by his enemies and the police officers who are after him.
Additionally, the film consists of shadowy, stark black-and-white photography, deep focus, and unorthodox angles, giving it a noirish feel. The rapid montage of tilted, blurred shots (shown when Johnny is on his way to carry out the heist), particularly at the film’s beginning, viewed through Johnny’s eyes, vividly portrays his inner turmoil and physical state, with hallucination scenes (after he’s injured) further exploring his guilt and worsening condition, adding depth to his character.
Odd Man Out stands out for its rich, layered depiction of Johnny McQueen. A radical leader and fugitive who escapes prison, Johnny’s involvement in a botched heist leads to tragedy, making him both a victim of circumstance and a morally conflicted individual. The screenplay skillfully portrays Johnny as a morally complex character, compelling us to empathize with his suffering throughout the film and recognize his pursuit of freedom as a revolutionary, despite his flawed tactics. And that empathy heightens the suspense in the film’s climax, as we’re left wondering whether he escapes, gets apprehended by police, or dies, ultimately hoping he finds a chance at a new life with his loved one. Furthermore, James Mason’s portrayal, in which he convincingly portrays Johnny’s inner conflict and the thoughts of remorse and salvation, contributes significantly to our empathy for the person.
Kathleen Ryan also shines as Kathleen, and the film masterfully tackles her character’s dilemma. On the one hand, Kathleen’s unwavering love for Johnny is palpable despite its one-sided nature, and the movie beautifully captures her emotions, from her tender, worried looks in the opening scene to her heartfelt warning against his dangerous plans and finally, her exhausting efforts to track him down after he is on the run. While Kathleen loves Johnny with all her heart, she knows his revolutionary path will lead nowhere good. She must decide whether to hold on to Johnny or let him go. In a powerful scene, her grandmother gives her some sobering advice, revealing that men like Johnny, who are rebels, never come back and that it is better to start over, just like she did. Ultimately, Kathleen chooses to follow her heart, resulting in a heartbreakingly devastating climax.
Odd Man Out movie links: Wikipedia, Letterboxd
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