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 »
A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
Because aging boxer Bill Thompson always lost his past fights, his corrupt manager, without telling Thompson, takes bribes from a betting gangster, to ensure Thompson's pre-arranged dive-loss in the next match.
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 »
[last lines - voice over]
I found my brother's body at the bottom there, where they had thrown it away on the rocks... by the river... like an old dirty rag nobody wants. He was dead - and I felt I had killed him. I turned back to give myself up to Hall; because if a man's life can be lived so long and come out this way - like rubbish - then something was horrible and had to be ended one way or another... and I decided to help.
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Great mix of mobsters and sibling rivalry in overlooked gem...
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.
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