A Força do Mal

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.

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

This is a change of pace from the norm of film noir. Film noir of course is a varied group of films and there is no one way to do it, certainly not a right one. It was tracing illusory and disorienting existence in the big city after all, itself fluid and malleable, and that's what we get here.

But a few differences help cast a light on what this is:

• the protagonist is not a gumshoe unraveling a case or hapless schmuck crushed by the fates. He's a cocky narrator, as much in control of what happens as anyone else, and in on it from the start. He has the usual fast-talking bravado, he glides smoothly, sweeps the girl off her feet. And yet his real impetus is wanting to pay back a big brother who sacrificed to get him out of tenement life.

• the girl is not some world-savvy dame but a sweet, innocent soul who instinctively backs out of the racket when it starts to feel wrong and is ready to fall for him only tentatively, guarding herself as she gives way.

All through this New York looks gritty rather than sultry, the narrative light is harsh and anxious. The contrast is between not entirely legal but not entirely immoral slum life, and the new cut-throat world of big business coming for the little guy. It's a bit of stretch to show the smalltime hustlers as the personable 'good guys' but that's the short-hand used. Its real progenitors are gangster films.

• And third, there is a scheme underway that resolves all this, to turn a numbers racket run piecemeal from tenement backrooms into a respectable, lucrative business run from Wall Street.

There's a lot of talk throughout, in that rat-tat-tat fashion of Hollywood. The dialogue verges on histrionic, and the whole has a verbose feel, but one that feels like someone has studied this life and is trying to come back with an honest depiction. It has a thickness of world to it, although the mannerisms are obvious.

Here's the cinch and what probably earned the movie a reputation as left-wing and landed the filmmaker in the famous HUAC blacklist.

The scheme works, the older brother eventually goes along with it, who had earlier made a big moral stand against it. The girl is swept off her feet. Our guy stands to make a fortune, help his brother, and get the girl who is not a dame like his boss's wife.

Except, in unchecked capitalism no one is really in control. Police had been watching but it's the nerve-wracked bookkeeper who sets the scene for grievous consequences to follow. The moral resolution is that it works but at what price to the soul; the lesson remains that a life of scheming doesn't pay and I'm not bowled over in this case.

Even more pertinently however, were the smalltime hustlers a boon to their community? They were running much the same lottery, working peoples' money for the promise that maybe this week it'll be you. But it seems there were bonds of community which the merger frays and disturbs. You'll see that it's our hero's tie to a human story rooted in community that really foils the plan.

The evocative finale with the couple descending stairs with the Brooklyn Bridge hulking above them is a favorite. In fact my favorite bits here all revolve around these two and their unlikely bond, their playful interplay against the larger background.

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.

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.