Charley Davis wins an amateur boxing match and is taken on by promoter Quinn. Charley's mother doesn't want him to fight, but when Charley's father is accidentally killed, Charley sets up a... See full summary »
It was Leonora Eames' childhood dream come true. She had married Smith Ohlrig, a man worth millions. But her innocent dream became a nightmare once she realizes the truth about her husband ... See full summary »
Barbara Bel Geddes,
Lawyer Joe Morse wants to consolidate all the small-time numbers racket operators into one big powerful operation. But his elder brother Leo is one of these small-time operators who wants to stay that way, preferring not to deal with the gangsters who dominate the big-time. Written by
John Oswalt <firstname.lastname@example.org>
This film was selected to the National Film Registry, Library of Congress, in 1994. See more »
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. See more »
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.
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