Le forze del male

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.

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.

An unethical lawyer, with an older brother he wants to help, becomes a partner with a client in the numbers racket.

The plot which unfolds is a terse, melodramatic thriller notable for realist location photography, almost poetic dialogue and frequent biblical allusions (Cain and Abel, Judas's betrayal, stigmata).

What I really liked about this film is how it portrays the numbers racket. Whoever wrote this clearly knew what he was talking about. As someone who has studied the Mafia and its activities, I have a pretty good idea of how the numbers business works and how it can (or cannot) be rigged. These concerns are addressed in a very knowledgeable way.

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.

A richly provocative movie that could serve as a bible of film making, "Force of Evil" succeeds on a number of planes , establishing itself not only as classic noir, but as a reflection of its period. Visually, the compositions are exciting, from the elegant decor gilding the halls of power to the closeup of horror that punctuates Bower's brutal murder, the rich complexity seldom falters. There are echoes here of Eisenstein, and one can't help noticing the presence of Robert Aldrich as Assistant Director, an apprenticeship that would payoff in the visually similar "Kiss Me Deadly", suggesting that Aldrich served for a time as trustee of the blacklisted Polonsky estate. The script occasionally rises to the level of poetic Blank Verse, and is expertly intoned by John Garfield, Beatrice Pearson, and Thomas Gomez in a sweatily memorable performance.

Thematically, Marxist Polonsky and co-scripter Ira Wolfert take a shot at the Darwinist world of capital, where big fish survive by eating smaller fish or by muscling in on the catch (Ficco's strategy), while working class minnows offer up dimes and quarters in hopes of instant metamorphosis. It's an ugly world where corruption and greed reach from top to bottom. Since the Production Code of the time couldn't leave matters in an unregenerate state, an upbeat ending is tacked on that defies the logic of what has gone before. Nevertheless, the sharply-etched images remain, vividly - memorably. And it's ironic that any intended remake will have to consider that the biggest fish of all has taken over the numbers racket and renamed it - the State Lottery. I wonder if Polonsky was amused.