¨Odd man out ¨(1947) is an exciting adventure in unbearable suspense with James Mason as an IRA hit man on the run was Reed's first real independent effort, and he had gone to the big production company ¨Rank¨ to do it . This is a suspenseful drama set in the Twenties about Johnny McQueen (James Mason in the title role) , is the IRA-like group's leader who has been hiding the past six months since his getaway from prison at a home occupied by his tragic sweetheart named Kathleen Sullivan (Kathleen Ryan) who loves him . Later on , Johnny along with hot-headed fellow-rebel Dennis (Robert Beatty) and others planning a hold-up to get money . The next day, Johnny , Nolan (Dan O'Herlihy) and Murphy break into the mill office and hold the clerks at gunpoint to demand the money. As they leave with the money, Johnny is confronted by an armed cashier . Johnny is shot in his upper left arm before he returns fire and shoots the cashier . The escape driver , Pat (Cyril Cusack), drives off but Johnny falls from the rapid car . Then the wounded IRA gunman on the run through a Belfast permanently coated with snow and pelted by rain ; along the way regarding the people who help and hinder his getaway.
An intelligent and powerful effort by Carol Reed and a decent example of the respectable quality of the British cinema which achieved splendor and apotheosis in late 40s . Carefully crafted film with notable interpretations , plenty of thrills , intrigue , twists and turns . Director Reed carries out an engaging studio of an IRA rebel on the lam , by realizing a restrained , tasteful making , as he explores admirabily a controlled Belfast environment , especially lower classes , he has a special ability to elicit remarkable acting from his actors and a nice skill for delving psychological depths without sacrifice narrative coherence . And providing a sophisticated analysis of the intersection between realities of Irish and British people with their implacable cops pursuing the unfortunate injured man. All the thrilling events are compellingly built up and leading to an agonizing and surprising final . Interesting and moving script from F.L. Green and R.C. Sherriff , supported by Carol Reed himself . Main starring James Mason is perfect , he gives a magnetic as well as strong acting , he broke right away from his run of regency cads . And great support cast responds masterfully to the particular demands of the director by delivering enjoyable and memorable portraits , such as : Robert Newton , Cyril Cusack , Fay Compton , Robert Beatty, Dan O'Herlihy. And remaining support cast is frankly excellent , such as : Denis O'Dea, Eddie Byrne , Maureen Delaney , F.J. McCormick, William Hartnell and brief appearances from Noel Purcell , Geoffrey Keen , Guy Rolfe ,among others .
It contains and evocative and atmospheric musical score by classy composer William Alwyn with usual musical conductor Muir Matheson . As well as an adequate cinematography in black and white with plenty of lights and shades in expressionist style , being magnificently photographed by Robert Krasker -subsequently a great cameraman for superproductions- by adding greatly to the mounting tension . The motion picture was splendidly directed by Carol Reed , being one of his most engrossing films showing understanding of character and realized in the middle of his best period . Reed once considered to the greatest British director , had his clay feet , mercilessly exposed by the auteurist critics of the 60s . Now stripped fo his old and inflated reputation it is posible to appreciate better his virtues . Reed worked for important producers as Alexander Korda and J. Arthur Rank . For Reed, who would wisely decide to start producing his own films in order to have more control over them, finding his niche was still a challenge into the 1940s . He was only too well aware that the film director led a team effort--his was partly a coordinator's task, harmonizing the talents of the creative team. The modest Reed would admit to his success being this partnership time and again. So he gravitated toward the same scriptwriters, art directors and cinematographers as his movie list spread out . There were more thrillers and some historical bios: Kipps (1941) with Michael Redgrave and The Young Mr Pitt (1942) with Robert Donat . He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life. His Anglo-American documentary of combat , The True Glory (1945), won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. He also had the clout--and the all-important funds--to do what he thought was essential to ensure realism on a location shoot, something missing in British film work prior to Reed . And , of course , his greatest hit was ¨The third man¨with Orson Welles and Joseph Cotten . ¨Odd man Out¨rating : 7/10 . Well worth seeing . Better than average , though overlong .
An intelligent and powerful effort by Carol Reed and a decent example of the respectable quality of the British cinema which achieved splendor and apotheosis in late 40s . Carefully crafted film with notable interpretations , plenty of thrills , intrigue , twists and turns . Director Reed carries out an engaging studio of an IRA rebel on the lam , by realizing a restrained , tasteful making , as he explores admirabily a controlled Belfast environment , especially lower classes , he has a special ability to elicit remarkable acting from his actors and a nice skill for delving psychological depths without sacrifice narrative coherence . And providing a sophisticated analysis of the intersection between realities of Irish and British people with their implacable cops pursuing the unfortunate injured man. All the thrilling events are compellingly built up and leading to an agonizing and surprising final . Interesting and moving script from F.L. Green and R.C. Sherriff , supported by Carol Reed himself . Main starring James Mason is perfect , he gives a magnetic as well as strong acting , he broke right away from his run of regency cads . And great support cast responds masterfully to the particular demands of the director by delivering enjoyable and memorable portraits , such as : Robert Newton , Cyril Cusack , Fay Compton , Robert Beatty, Dan O'Herlihy. And remaining support cast is frankly excellent , such as : Denis O'Dea, Eddie Byrne , Maureen Delaney , F.J. McCormick, William Hartnell and brief appearances from Noel Purcell , Geoffrey Keen , Guy Rolfe ,among others .
It contains and evocative and atmospheric musical score by classy composer William Alwyn with usual musical conductor Muir Matheson . As well as an adequate cinematography in black and white with plenty of lights and shades in expressionist style , being magnificently photographed by Robert Krasker -subsequently a great cameraman for superproductions- by adding greatly to the mounting tension . The motion picture was splendidly directed by Carol Reed , being one of his most engrossing films showing understanding of character and realized in the middle of his best period . Reed once considered to the greatest British director , had his clay feet , mercilessly exposed by the auteurist critics of the 60s . Now stripped fo his old and inflated reputation it is posible to appreciate better his virtues . Reed worked for important producers as Alexander Korda and J. Arthur Rank . For Reed, who would wisely decide to start producing his own films in order to have more control over them, finding his niche was still a challenge into the 1940s . He was only too well aware that the film director led a team effort--his was partly a coordinator's task, harmonizing the talents of the creative team. The modest Reed would admit to his success being this partnership time and again. So he gravitated toward the same scriptwriters, art directors and cinematographers as his movie list spread out . There were more thrillers and some historical bios: Kipps (1941) with Michael Redgrave and The Young Mr Pitt (1942) with Robert Donat . He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life. His Anglo-American documentary of combat , The True Glory (1945), won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. He also had the clout--and the all-important funds--to do what he thought was essential to ensure realism on a location shoot, something missing in British film work prior to Reed . And , of course , his greatest hit was ¨The third man¨with Orson Welles and Joseph Cotten . ¨Odd man Out¨rating : 7/10 . Well worth seeing . Better than average , though overlong .