The Lost Man is a 1969 American crime film, written and directed by Robert Alan Aurthur, loosely based on British author F.L. Green's 1945 novel Odd Man Out, which was previously made into a 1947 film directed by Carol Reed and starring James Mason.
The Lost Man | |
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Directed by | Robert Alan Aurthur |
Screenplay by | Robert Alan Aurthur |
Based on | Odd Man Out by F.L. Green |
Produced by | Edward Muhl Melville Tucker |
Starring | Sidney Poitier Joanna Shimkus Al Freeman Jr. Michael Tolan |
Cinematography | Gerald Perry Finnerman |
Edited by | Edward Mann |
Music by | Quincy Jones |
Production company | Universal Pictures |
Distributed by | Universal Pictures |
Release dates |
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Running time | 122 minutes |
Country | United States |
Language | English |
Box office | $1.85 million (US/ Canada rentals)[1] |
Former US Army lieutenant Jason Higgs (Sidney Poitier), after becoming a black militant during the 1960s Black Revolutionary Movement, is wounded as he pulls a payroll heist to help imprisoned brothers, and has to hide from the police. Social worker Cathy Ellis (Joanna Shimkus) falls in love with Higgs while helping him elude capture.
The New York Times gave the film a lukewarm review upon its release,[2] though a review by Roger Ebert was more positive, albeit with reservations.[3]
Poitier met his second wife, Joanna Shimkus, during the making of this movie.
The Lost Man | ||||
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Soundtrack album by | ||||
Released | 1969 | |||
Recorded | 1969 | |||
Genre | Film score | |||
Length | 33:54 | |||
Label | Uni UNI 73060 | |||
Producer | Quincy Jones, Stanley Wilson | |||
Quincy Jones chronology | ||||
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The film score was composed by Quincy Jones and conducted by Stanley Wilson, and the soundtrack album was released on the Uni label in 1969.[4][5]
Review scores | |
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Source | Rating |
Allmusic | ![]() ![]() ![]() ![]() ![]() |
Allmusic's Brandon Burke said the soundtrack had "In the strict sense of the word, The Lost Man was not a blaxploitation film, but its soundtrack (arranged by Quincy Jones) might lead you to think otherwise. ... Jones takes the sparse, groove-oriented route heard on the J.J. Johnson scores for Cleopatra Jones and Across 110th Street. This is most evident on downtempo numbers like the sultry "Sweet Soul Sister" (featuring Nate Turner & the Mirettes) and the opening theme. "Main Squeeze," however, is a funk bomb if ever there was one and, thankfully, its bass-driven motif runs throughout the LP. Recommended if you can find it".[6]
All compositions by Quincy Jones except where noted