Force of Evil (1948)

Director:

Abraham Polonsky

Writers:

Abraham Polonsky (screenplay) and
Ira Wolfert (screenplay) ...

Release Date:

25 December 1948 (USA)

Genre:

Crime | Film-Noir | Drama

Plot:

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

Plot Keywords:

Lawyer | Gangster | Numbers Racket | Heart Trouble | Secretary

Awards:

1 win

Cast

John Garfield	...	Joe Morse
Thomas Gomez	...	Leo Morse
Marie Windsor	...	Edna Tucker
Howland Chamberlain	...	Freddie Bauer (as Howland Chamberlin)
Roy Roberts	...	Ben Tucker
Paul Fix	...	Bill Ficco
Stanley Prager	...	Wally
Barry Kelley	...	Det. Egan
Paul McVey	...	Hobe Wheelock
Beatrice Pearson	...	Doris Lowry

Also Known As:

Tucker's People (USA) (working title)

Runtime:

78 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

UK:A (original rating) | UK:PG | Finland:K-16 | Sweden:15 | USA:PG

Filming Locations:

New York City, New York, USA

Company:

Enterprise Productions

Trivia:

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.

Goofs:

Continuity: 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.

Quotes:

Sylvia Morse: [referring to Joe] Don't have anything to do with him, Leo. You're a businessman.
Leo Morse: Yes. I've been a businessman all my life. And honest - I don't know what a business is.
Sylvia Morse: Well, you had a garage... you had a real estate business.
Leo Morse: A lot you know. Real estate business... living from mortgage to mortgage... stealing credit like a thief. And the garage - that was a business! Three cents overcharge on every gallon of gas: two cents for the chauffeur and a penny for me. Penny for one thief, two cents for the other. Well, Joe's here now - I won't have to steal pennies anymore. I'll have big crooks to steal dollars for me!

Movie Connections:

Featured in The Rules of Film Noir (2009) (TV)

Soundtrack:

String Quartet opus 131, no. 14: Ist Movement

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.