7.4/10
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56 user 45 critic

Force of Evil (1948)

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

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(screenplay), (screenplay) | 1 more credit »
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Cast

Complete credited cast:
...
...
...
Edna Tucker
Howland Chamberlain ...
Freddie Bauer (as Howland Chamberlin)
...
Ben Tucker
...
Bill Ficco
Stanley Prager ...
Wally
...
Det. Egan
...
Hobe Wheelock
...
Doris Lowry
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Storyline

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 <jao@jao.com>

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Film-Noir

Certificate:

TV-PG | See all certifications »
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Details

Country:

Language:

Release Date:

25 December 1948 (USA)  »

Also Known As:

Tucker's People  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

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. See more »

Goofs

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 »

Quotes

[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...
See more »

Connections

Featured in The Rules of Film Noir (2009) See more »

Soundtracks

String Quartet opus 131, no. 14: Ist Movement
(uncredited)
Music by Ludwig van Beethoven
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User Reviews

 
Abraham Polonsky's masterpiece
15 January 2006 | by (Van Buren, Arkansas) – See all my reviews

Oft times an author's first major work is his/her best work. This is true for director Abraham Polonsky. Had Polonsky not been blacklisted by the Hollywood and Congressional bigots who knows what he might have done. Certainly his earlier script for "Body and Soul" is one of the best in movie history. Since he was later blacklisted by the power hungry hooligans of the nation, it is easy to read too much Marxism and Communist psycho-babble into "Force of Evil." In pointing out that there is not much difference between underworld numbers banking and banking in the world of acceptable business, Polonsky is utilizing social and political criticism, not of necessity a Marxist slant. Marxism is an entire Utopian recreation of the economic world order, not artistic expression and intellectual conceptualization as presented by Polonsky in "Force of Evil." The director/writer is also concerned with moral bankruptcy in justifying evil as a means of rationalizing big profits from illegal activities.

There is a spin off story concerning two brothers, one of whom has warped scruples who helped his younger brother become a successful if now corrupt corporate lawyer with no scruples until tempered by the seemingly innocent babe in the woods Doris Lowry (Beatrice Pearson) who in reality has questionable morals herself yet clothed in hypocrisy. Both Doris and Leo Morse (Thomas Gomez)are pursued by their own demons. The viewer has to determine where the moral depravity or evil actually lies and with whom. The title "Force of Evil" could just as well be "THE Force of Evil," since evil tends to be almost omnipotent that every mortal is tempted and it takes very strong souls indeed to resist and remain true to heart. It's much easier to make a deal with the devil in the fashion of Faust and to take the wrong highway at the crossroads.

The brilliant John Garfield who left this world much too soon never gave a poor performance. Only Garfield could have done justice to the complicated complex character of Joe Morse. Yet Thomas Gomez stays up with Garfield all the way and nearly steals the show as Joe's impenetrable sibling whose persona appears one-dimensional on the surface until one begins to scratch away the enamel.

A delectable bonus for the viewer is the magnetic New York City photography that takes on the appearance of Edward Hopper paintings, as Polonsky intended. All the exterior shots are to be savored but one that sticks in the mind long after the film ends is near the final credits when Joe seeks where his brother Leo's body has been dumped. The narration by Joe tells it all as he runs in a desperate gait downward toward the murky water, with Doris trying to keep up but mainly just watching.

One of the neglected movie gems of the 1940's, not to be missed.


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