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IMDbPro

Le forze del male

Titolo originale: Force of Evil
  • 1948
  • T
  • 1h 19min
VALUTAZIONE IMDb
7,2/10
8086
LA TUA VALUTAZIONE
John Garfield and Roy Roberts in Le forze del male (1948)
Film NoirCrimeDrama

Un avvocato senza etica che vuole aiutare suo fratello maggiore diventa socio di un suo cliente in un numero di truffe.Un avvocato senza etica che vuole aiutare suo fratello maggiore diventa socio di un suo cliente in un numero di truffe.Un avvocato senza etica che vuole aiutare suo fratello maggiore diventa socio di un suo cliente in un numero di truffe.

  • Regia
    • Abraham Polonsky
  • Sceneggiatura
    • Abraham Polonsky
    • Ira Wolfert
  • Star
    • John Garfield
    • Thomas Gomez
    • Beatrice Pearson
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,2/10
    8086
    LA TUA VALUTAZIONE
    • Regia
      • Abraham Polonsky
    • Sceneggiatura
      • Abraham Polonsky
      • Ira Wolfert
    • Star
      • John Garfield
      • Thomas Gomez
      • Beatrice Pearson
    • 84Recensioni degli utenti
    • 48Recensioni della critica
    • 89Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 4 vittorie totali

    Foto87

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    + 79
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    Interpreti principali94

    Modifica
    John Garfield
    John Garfield
    • Joe Morse
    Thomas Gomez
    Thomas Gomez
    • Leo Morse
    Beatrice Pearson
    Beatrice Pearson
    • Doris Lowry
    Marie Windsor
    Marie Windsor
    • Edna Tucker
    Howland Chamberlain
    Howland Chamberlain
    • Freddie Bauer
    • (as Howland Chamberlin)
    Roy Roberts
    Roy Roberts
    • Ben Tucker
    Paul Fix
    Paul Fix
    • Bill Ficco
    Stanley Prager
    Stanley Prager
    • Wally
    Barry Kelley
    Barry Kelley
    • Detective Egan
    Paul McVey
    Paul McVey
    • Hobe Wheelock
    Murray Alper
    Murray Alper
    • Comptroller
    • (non citato nei titoli originali)
    Jessie Arnold
    Jessie Arnold
    • Sorter
    • (non citato nei titoli originali)
    Sam Ash
    Sam Ash
    • Citizen
    • (non citato nei titoli originali)
    Georgia Backus
    Georgia Backus
    • Sylvia Morse
    • (non citato nei titoli originali)
    Margaret Bert
    • Sorter
    • (non citato nei titoli originali)
    Larry J. Blake
    Larry J. Blake
    • Detective
    • (non citato nei titoli originali)
    Mildred Boyd
    • Mother
    • (non citato nei titoli originali)
    Ralph Brooks
    • Attorney
    • (non citato nei titoli originali)
    • Regia
      • Abraham Polonsky
    • Sceneggiatura
      • Abraham Polonsky
      • Ira Wolfert
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti84

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    Recensioni in evidenza

    drmality

    beyond film noir...a classic and pessimistic view of humannature

    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
    churei

    A haunting, haunted film

    FORCE OF EVIL has remained hovering over me like a ghost all these years. I was studying at Manhattan's Grand Street Playhouse at the time, and the political climate that was beginning to engulf the public had started. Polonsky barely hid the real undercurrent of this remarkable film. When it finally hit the VHS bins, I was almost first on line. I agree with all of the positive remarks on this strong movie, that has all kinds of ghostly memories hovering over it. I did indeed develop a strong crush on Beatrice Pearson, who was an established Broadway actress. She later did quite a turnaround, and even more effective role in LOST BOUNDARIES with excellent work alongside Mel Ferrer, Susan Douglas, Richard Hylton and Carleton Carpenter. From what I have read (if it is to be believed), she was difficult with a friend around offering advice at every turn. Pearson, after BOUNDARIES, returned to Broadway. Wherever she is now may be a mystery, but if she ever reads this, I hope she knows that this is one fan who still smiles at thoughts of her hair falling over the side of her face, her lovely smile, and the sight of her sitting atop a high hall mantle.
    9Don-102

    Great mix of mobsters and sibling rivalry in overlooked gem...

    Martin Scorsese has hailed this film as one of the forgotten masterpieces of the film-noir genre. He took it a step further by resurrecting the film from the vaults and teaching it at NYU in the late 60's. He said it was the first film he ever saw that related "to a world he knew and saw." Indeed, the film's realism and location shooting is great to see, especially Wall Street circa 1948. Those scrapers have stood for a long time. This is not traditional noir, however. It is an excellent study of a personal battle between two brothers. Joe (John Garfield) is a rich, corrupt mob lawyer, not unlike Duvall in the Godfather flicks. His older brother Leo (A great actor named Thomas Gomez) is a banker trying to live on the "up and up".

    The relationship is a tragic one. Thomas Gomez must be one of the most underrated actors of his day. He steals every scene he's in with the quick-talking Garfield, who was so good in THE POSTMAN ALWAYS RINGS TWICE. This may be familiar to fans of RAGING BULL, where both sets of brothers in two very different films love each other, but have a difficult time displaying affection.

    Two fabulous scenes stand out and would be impossible if shot in color. The first occurs when Garfield stumbles upon a darkened office with his door slightly ajar. The light from his office cuts through the middle of the screen, allowing Garfield to snoop. Another is the shootout at the film's climax, where all of the three shooters are lying in the shadows, creating suspense based on what we cannot see. It is all done in a very impressionistic way, a superb use of lighting and shadow. This is black and white at its best. Pure and evil. A truly great film. I would stay focused on the scenes between Gomez and Garfield. This sad brotherhood plays incredibly against a brilliant backdrop of crime and double-crossing.

    FORCE OF EVIL is another reminder of how good Hollywood films of the 1940's were. Without them, we probably would not have the classics of the past 25 years.
    kennethwright2612

    Top Marx!

    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.
    Geofbob

    Classic film noir which finishes too soon

    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.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      In order to show cinematographer George Barnes how he wanted the film to look, Abraham Polonsky gave him a book of Edward Hopper's Third Avenue paintings.
    • Blooper
      During a climactic montage set at an East Coast racetrack on the Fourth of July, people in the stock footage crowd scenes are dressed in winter garments nobody would wear in the middle of summer.
    • Citazioni

      [after Joe bails his brother, Doris and the others out of jail]

      Doris Lowry: You know I've got my whole life to think about now and you won't be of any help.

      Joe Morse: How do you know? You know everything I touch turns to gold. It's raining out and I promised my brother to take you home.

      Doris Lowry: Well, that's a lie.

      Joe Morse: Well, it's not true; but I would have had he asked. You know you can't tell about your life 'til you're all through living it. Come on, I'll give you a lift. You're tired, I'm tireder. What can happen to either one of us? You tell me the story of your life and maybe I can suggest a happy ending.

    • Versioni alternative
      All existing copies of the film are of the version that was cut by 10 minutes in order to fit into a double bill.
    • Connessioni
      Edited into American Cinema: Film Noir (1995)
    • Colonne sonore
      String Quartet opus 131, no. 14: Ist Movement
      (uncredited)

      Music by Ludwig van Beethoven

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    Dettagli

    Modifica
    • Data di uscita
      • 24 agosto 1950 (Italia)
    • Paese di origine
      • Stati Uniti
    • Siti ufficiali
      • Streaming on "Filmmaker54" YouTube Channel
      • Streaming on "Reel Classics" YouTube Channel
    • Lingua
      • Inglese
    • Celebre anche come
      • Force of Evil
    • Luoghi delle riprese
      • George Washington Bridge, Manhattan, New York, New York, Stati Uniti(final scene)
    • Aziende produttrici
      • Roberts Pictures Inc.
      • Enterprise Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 948.000 USD
    • Lordo in tutto il mondo
      • 1.165.000 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 19 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.33 : 1

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