Die Macht des Bösen

Superficially, "Force of Evil" can be considered a film noir and gangster movie. But it is so much deeper than that. The very bleak message I got from the film is that even decent people must submit to corruption to survive.

The character of Leo, superbly played by Thomas Gomez, is inherently honest and noble but he must live and work in the naturally shady numbers racket. He knows that he will be eventually crushed. This knowledge makes Leo one of the most bitter and tragic characters in film...a decent man whose life is dominated by futility.

The protagonist of the film, portrayed by John Garfield, is Leo's brother. He has ridden his job as a sleazy mob lawyer to a life of fame and ease. He has everything Leo doesn't. Yet despite his blustery banter, he,too,is uneasy with his position. He knows Leo is headed for disaster and pulls all the strings he can to protect him, even though Leo reacts to him with contempt. Their relationship is doomed by the corrupt methods both use to survive. Garfield's character finds redemption of a sort by the film's end but not before inevitable tragedy has struck.

There are many more levels to this complex film and discussion of them all could fill many pages. Above all, it is a beautiful movie,expertly directed with tremendous black and white imagery. The dialogue combines snappy patter with almost poetic sensibility. And the performances of all concerned are top notch. This is truly a treasure of cinematic art. Be prepared to think deeply when you watch it

Joe Morse (John Garfield) is an attorney for a large gambling syndicate in New York City, and as a result skims his share from the profits. The big syndicate is planning to break all of the smaller "banks" or gambling houses by causing a favorite number that is bet on July 4 -776- to win. The little banks won't be able to pay out all of their bets, and the big syndicate will take the ones over that they want and jettison the rest.

The problem is, Joe's older brother Leo (Thomas Gomez) runs one of those smaller booking outfits. He is 50 with heart trouble and Joe figures that loosing his business like this will finish him off. Joe wants to tell Leo outright what is going on so he won't take bets for the 4th of July, but is ordered in no uncertain terms by the head of the syndicate to not tell his brother anything.

It's at this point the film loses its way. I can't tell you WHY anybody does anything from this point forward. For example, Joe tells the cops to raid his brother's bookie joint supposedly to get him to not take bets for the 4th of July, but his brother still gets out of jail before the 4th of July and ends up taking bets for the 4th and going broke anyways. What was the point? Joe takes an outsized romantic interest in a young girl working in his brother's gambling joint - Beatrice Pearson as Doris - even though it is obvious she is not remotely interested in him unless he reforms, and he is not the least bit interested in reforming.

I rated this as above average because of the great noirish photography, good dialogue, and fine acting. It is just too bad it was not in service to a more coherent plot.

McCarthy blacklist victim Abraham Polonsky's angry and poetic film noir is perhaps the most candidly subversive picture ever made in a commercial genre, almost explicitly equating capitalism with crime in the metaphor of the numbers racket. It belongs on the face of it to the post-war-disillusionment school of American thrillers (eg The Blue Dahlia, Key Largo), in which the evils that ordinary Joes spent the war fighting turn out to be business as usual when they get back home. But what makes it so unusual is its insistence, contrary to the message of other social-comment crime thrillers of the 1940s, that it's a bad system, rather than bad people, that's to blame for the woes of the world. The fate of Mob lawyer John Garfield's decent, kind-hearted brother Thomas Gomez, a small-time policy banker, shows us what happens to good people who try to play straight in a crooked game. If the bad guys in the film turned good, Polonsky implies, they'd only get the same. Polonsky described the source novel, Tucker's People, as "an autopsy on capitalism".

Sermon over: none of the above gets in the way of a raging, doom-laden crime melo that, like a snowball, gets faster and weightier as it barrels along. Superb New York location photography, a vitriolic script, and committed, sincere performances lock our attention to every second of its 81 New York minutes. If it weren't for Gun Crazy (scripted under a front name by another dangerous pinko, Dalton Trumbo), Force of Evil would be the best film noir ever made.

The VHS version I own of Force of Evil is one with a forward by Martin Scorsese. In it Scorsese says that this film was the first one that depicted a world he knew, growing up in New York City. Scorses was mesmerized by it as a kid and studied it frame by frame as when he grew up. He pays tribute to Force of Evil saying that you can see the influence of it Mean Streets, Raging Bull, and Goodfellas.

Of course the fact that the film was shot totally on location in scintillating black and white noir in New York City, gave it a dimension that no other noir films have, save possibly Night and the City which was also shot on location in London.

John Garfield who was as quintessential a New Yorker as you could get plays Joe Morse, smooth lawyer for a big time racketeer Roy Roberts who is looking to either take over or muscle out the small time policy banks in the numbers racket. One of those banks is owned by Garfield's brother, Thomas Gomez.

Garfield is as ruthless as Roberts, but with a velvet glove. He tries to get Gomez to go along with the syndicate, but Gomez balks. There's also a prosecutor looking into the numbers racket and a tapped phone which figures prominently in the climax.

Given the leftwing polemics of both the star and director Abraham Polonsky, Force of Evil got the attention of the ultra rightwing House Un American Activities Committee. Polonsky was blacklisted for over 20 years and Garfield died under the strain of the investigation.

Given what has happened to the Soviet Union, I wonder if Garfield and Polonsky were alive today what they would say and how they would feel about their work here. It's interesting to speculate.

But as entertainment Force of Evil is a great success and that is the first rule of film. Also look for a good performance by Marie Windsor as Roberts's wife with a yen for Garfield. One of her first femme fatale roles and one of her best.

This is a gripping film noir, dark and despairing in mood, co-written and directed by Abraham Polonsky, shortly before he was blacklisted in Hollywood for his left-wing views. Those views are perhaps implied in the plot, which is about the illegal numbers game, and the attempt of a big operator to gain a monopoly of the racket in New York. The film shows how everybody from the individual punter putting a few cents on a number to the gangsters making a fortune out of the operation is soiled by the racket. For Polonsky, the numbers game may have symbolised capitalism as a whole, with both bosses and workers being corrupted by the system. However, the details of the plot are less important than the mood, characterisations and visual aspects of the movie.

John Garfield is brilliant as the charming, amoral lawyer Joe Morse, a Mr Fixit for racket-boss Ben Tucker (Roy Roberts). Thomas Gomez plays Joe's sick, world-weary brother Leo, who also runs an illegal numbers game, but independently of the mob, in an honorable and decent fashion. Some of the best scenes in the film show Joe trying, as he sees it, to help Leo by bringing him into Tucker's operation, while Leo resists and berates Joe for using his ability and education in such an ignoble cause. Much of this intense dialogue is reminiscent of that in plays by Clifford Odets or Arthur Miller.

Also compelling, but with a lighter feel, are scenes between Joe and Doris (Beatrice Pearson) a quiet but assured young woman who works for Leo. Joe adopts slick patter, and runs himself down, in an attempt to gain her sympathy. Also in the movie, but with a disappointingly small part, is Marie Windsor, as Edna, Tucker's wife; in a longer, more commercial, film, her role of femme fatale would almost certainly have been expanded.

But it is the sets, location work, cinematography and editing which lift the film above the average. Practically every scene and shot has visual interest, and it is definitely one film you want to go on longer than its allotted 80 minutes.