Odd Man Out Blu-ray Review
Based on the novel by F.L. Green, the screenplay by F.L. Green and R.C. Sherriff has added some important scenes not in the book which give more human and sympathetic dimensions to Johnny and instill for the viewer a rooting interest that he might somehow be able to get on that boat leaving the country at midnight. While Carol Reed’s intricate direction plays up the deep shadows of the long, wet alleys and the slowly converging police contingent on Johnny’s location fully promoting the likely doom of Johnny’s quest, it's not quite the chase movie that the film's first quarter hour suggests it might be: he also spends quite a bit of time (too much in a couple of instances) with characters who show their true colors for wanting to lay hands on Johnny. One of the most fascinating aspects of the movie is that these numerous people with whom Johnny comes into contact during his long night of wandering get lengthy segments devoted to developing their personalities, in effect giving each of them a star turn of his own: Reed is interested in conveying the motivations behind the actions of this motley crew of Samaritans: who’s greedy, who’s compassionate, who’s indifferent, who’s frightened, who’s self-centered or self-righteous. While it extends the movie’s running time to almost two hours, we’re certainly introduced to a surprisingly large gallery of fascinating people from the two-faced Aunt Teresa (Maureen Delaney) to the kindly Father Tom (W.G. Fay), the driven artist Lukey (Robert Newton) who wants to paint a man right before death to his medical assistant roommate (Elwyn Brook-Jones) who only wants to save his life. And then there are Johnny’s cohorts (Cyril Cusack, Dan O'Herlihy, Robert Beatty), two sisters (Fay Compton, Beryl Measor) who have differing ideas on what to do with a wanted man, and the calculating street rat Shell (F.J. McCormick) who can practically taste that reward money. Location shooting and studio backlots merge rather seamlessly in portraying Johnny’s harrowing trek to safety with Belfast’s clock tower regularly chiming to keep us abreast on how the night is progressing.
With his soft voice, pained eyes, and later miserable immobility with each step an agony that registers plainly across his face, James Mason can’t help but be an object of pity despite his character’s having shot and killed a mill executive during the robbery. His winning performance brought him to the attention of Hollywood and the rest, as they say, was history. Compared to the colorful characters who surround her (including the elderly Grannie played by Kitty Kirwan who steals every scene she’s in), Kathleen Ryan as Johnny's love offers a subtle performance of strength and tenderness. But it’s the character actors who have the field day here. Robert Newton (second-billed in a part that doesn’t show up until late in the film) received some criticism at the time for a broad performance as the eccentric painter, but he’s no more over-the-top than flat mate F.J. McCormick’s Shell who’s equally busy and broad. Denis O'Dea brings quiet dignity to his inspector’s role while W.G. Fay is likewise down-to-earth and loving as the gentle Father Tom. Robert Beatty has bounce and charisma as Johnny’s second-in-command Dennis in their IRA faction, while Maureen Delaney makes a major impression as one of the first snakes in the grass who pretends friendship to the IRA but who only wants the money their capture can bring her.
Postwar Poetry (15:46, HD): directors Guy Hamilton and John Boorman along with three film historians discuss the film and its rank among the other works of Carol Reed particularly in this particular period of his career.
Home, James (53:45, HD): a 1972 television documentary in which James Mason introduces us to his hometown of Huddersfield as he returns there and notes the changes and continuing mores of the community where he grew up.
Collaborative Composer (20:40, HD): music critic Jeff Smith discusses William Alwyn’s haunting score for the film noting how he and Reed forged a strong cooperative union for mixing his score with sound effects, playing the film’s three major leitmotifs and then illustrating examples of where they appear in the movie.
Suspense, Episode 460 (29:23): the 1952 radio adaptation of Odd Man Out starring James Mason and Dan O'Herlihy.
Enclosed Pamphlet: contains a couple of film stills, cast and crew lists, information on the transfer, and noir expert Imogen Sara Smith’s essay on the movie.
Timeline: can be pulled up from the menu or by pushing the red button on the remote. It shows you your progress on the disc and the title of the chapter you’re now in. Additionally, two other buttons on the remote can place or remove bookmarks if you decide to stop viewing before reaching the end of the film or want to mark specific places for later reference.
Director Carol Reed’s first film after his service in World War II was Odd Man Out, one of his three famous films (the others: The Fallen Idol, The Third Man) made for the J. Arthur Rank company after the war. It’s a gripping drama, filled with cinematic nuances and a gallery of very colorful characters and featuring a central performance by James Mason which made him an international star even though he spends most of the movie in a semi-conscious state barely able to walk or talk.
Studio: Criterion
Distributed By: N/A
Video Resolution and Encode: 1080P/AVC
Aspect Ratio: 1.37:1
Audio: English PCM 1.0 (Mono)
Subtitles: English SDH
Rating: Not Rated
Run Time: 1 Hr. 56 Min.
Package Includes: Blu-ray
keep caseDisc Type: BD50 (dual layer)
Region: A
Release Date: 04/14/2015
MSRP: $39.95
The Production Rating: 4.5/5
Based on the novel by F.L. Green, the screenplay by F.L. Green and R.C. Sherriff has added some important scenes not in the book which give more human and sympathetic dimensions to Johnny and instill for the viewer a rooting interest that he might somehow be able to get on that boat leaving the country at midnight. While Carol Reed’s intricate direction plays up the deep shadows of the long, wet alleys and the slowly converging police contingent on Johnny’s location fully promoting the likely doom of Johnny’s quest, it's not quite the chase movie that the film's first quarter hour suggests it might be: he also spends quite a bit of time (too much in a couple of instances) with characters who show their true colors for wanting to lay hands on Johnny. One of the most fascinating aspects of the movie is that these numerous people with whom Johnny comes into contact during his long night of wandering get lengthy segments devoted to developing their personalities, in effect giving each of them a star turn of his own: Reed is interested in conveying the motivations behind the actions of this motley crew of Samaritans: who’s greedy, who’s compassionate, who’s indifferent, who’s frightened, who’s self-centered or self-righteous. While it extends the movie’s running time to almost two hours, we’re certainly introduced to a surprisingly large gallery of fascinating people from the two-faced Aunt Teresa (Maureen Delaney) to the kindly Father Tom (W.G. Fay), the driven artist Lukey (Robert Newton) who wants to paint a man right before death to his medical assistant roommate (Elwyn Brook-Jones) who only wants to save his life. And then there are Johnny’s cohorts (Cyril Cusack, Dan O'Herlihy, Robert Beatty), two sisters (Fay Compton, Beryl Measor) who have differing ideas on what to do with a wanted man, and the calculating street rat Shell (F.J. McCormick) who can practically taste that reward money. Location shooting and studio backlots merge rather seamlessly in portraying Johnny’s harrowing trek to safety with Belfast’s clock tower regularly chiming to keep us abreast on how the night is progressing.
With his soft voice, pained eyes, and later miserable immobility with each step an agony that registers plainly across his face, James Mason can’t help but be an object of pity despite his character’s having shot and killed a mill executive during the robbery. His winning performance brought him to the attention of Hollywood and the rest, as they say, was history. Compared to the colorful characters who surround her (including the elderly Grannie played by Kitty Kirwan who steals every scene she’s in), Kathleen Ryan as Johnny's love offers a subtle performance of strength and tenderness. But it’s the character actors who have the field day here. Robert Newton (second-billed in a part that doesn’t show up until late in the film) received some criticism at the time for a broad performance as the eccentric painter, but he’s no more over-the-top than flat mate F.J. McCormick’s Shell who’s equally busy and broad. Denis O'Dea brings quiet dignity to his inspector’s role while W.G. Fay is likewise down-to-earth and loving as the gentle Father Tom. Robert Beatty has bounce and charisma as Johnny’s second-in-command Dennis in their IRA faction, while Maureen Delaney makes a major impression as one of the first snakes in the grass who pretends friendship to the IRA but who only wants the money their capture can bring her.
Video Rating: 4.5/5 3D Rating: NA
Audio Rating: 3.5/5
Special Features Rating: 4/5
Postwar Poetry (15:46, HD): directors Guy Hamilton and John Boorman along with three film historians discuss the film and its rank among the other works of Carol Reed particularly in this particular period of his career.
Home, James (53:45, HD): a 1972 television documentary in which James Mason introduces us to his hometown of Huddersfield as he returns there and notes the changes and continuing mores of the community where he grew up.
Collaborative Composer (20:40, HD): music critic Jeff Smith discusses William Alwyn’s haunting score for the film noting how he and Reed forged a strong cooperative union for mixing his score with sound effects, playing the film’s three major leitmotifs and then illustrating examples of where they appear in the movie.
Suspense, Episode 460 (29:23): the 1952 radio adaptation of Odd Man Out starring James Mason and Dan O'Herlihy.
Enclosed Pamphlet: contains a couple of film stills, cast and crew lists, information on the transfer, and noir expert Imogen Sara Smith’s essay on the movie.
Timeline: can be pulled up from the menu or by pushing the red button on the remote. It shows you your progress on the disc and the title of the chapter you’re now in. Additionally, two other buttons on the remote can place or remove bookmarks if you decide to stop viewing before reaching the end of the film or want to mark specific places for later reference.
Overall Rating: 4.5/5
Reviewed By: Matt Hough
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