I like the storyline of this show,it attract me so much

I love this movie so much

Redundant and unnecessary.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Copyright 31 January 1949 by Roberts Productions, Inc. A joint presentation of the Enterprise Studios and Metro-Goldwyn-Mayer. Released through M-G-M. New York opening at Loew's State on 25 December 1948. U.S. release: December 1948. U.K. release: 4 July 1949. Australian release: not recorded. 7,065 feet. 78 minutes.SYNOPSIS: Joe Morse, lawyer for Ben Tucker's numbers syndicate, has helped arrange for a fixed lottery on July 4, the day when superstitious bettors will always bet on 776. That number has been set to win, which will wipe out the small independent numbers banks and allow Tucker to take over. However, Joe's older brother, Leo, runs one of these small banks, and Joe fears that the strain will kill Leo, who has a weak heart. NOTES: First film directed by Abraham Polonsky, one of the most famous of Hollywood's blacklisted writers. It was 20 years before he was allowed to direct another film: "Tell Them Willie Boy Is Here".COMMENT: Film noir was never flavor-of-the-month at M-G-M. In Australia, for example, the distributor didn't even bother to hold a trade or media screening, let alone notify the trade papers of a release date. "Force of Evil" is of course a gem, a little masterpiece of film noir, with a powerful performance by Garfield and strong support by Thomas Gomez — probably his best performance ever — and Roy Roberts and Marie Windsor. Newcomer Beatrice Pearson is suitably colorless — she made only one more film, Lost Boundaries (1949) — and there's an appropriately seedy roster of character players. Abetted by George Barnes' atmospheric lighting and Richard Day's gritty sets, Polonsky's involving direction drives the hero's predicament home with palm-sweating force. Garfield is ideally cast to engage audience sympathy. The actor's natural charisma combines with Polonsky's tight direction to give a sense of participation that's almost overwhelming.OTHER VIEWS: This film is a dynamic crime-and-punishment drama, brilliantly and broadly realized ... A sizzling piece of work. (Bosley Crowther in The New York Times).

I caught this on Turner, drawn by the presence of John Garfield, a fine actor. I expected a run of the mill film noir but was surprised to find that the flick exceeded expectations. The script is extremely well-written, without the purple prose one often finds in this genre. The acting is excellent all around. The direction keeps the story line going. Also worth mentioning is the excellent score, a bit reminiscent of Copland, by one David Raksin. The dialogue contains a few bits of populist and anti-capitalist bluster, but considering the director and writer was a Commie, I suppose it's to be expected. This one keeps your attention throughout, and is well worth watching.

Dear Martin Scorsese, I decided to watch Force of Evil after you spoke about it on the On the Waterfront DVD. What impressed me the most about the film were its visuals. The first shot of the enormous buildings of Wallstreet pans to the tiny people walking on the road, almost inconsequential like ants. This theme is emphasized by repeating the same visual later in the film. After John Garfield walks out of his boss' office with stolen money, there are two beautiful long shots where the gigantic buildings tower like monsters over Garfield's tiny frame. There is some great film noir cinematography just before this scene as a single key light is used to show a slightly open door. The light shines on parts of John Garfield's face as he is about to spy on his boss. The film is a bleak tale of corruption where a big betting racket company (involved in the numbers game) tries to consolidate its position by forcefully acquiring all the smaller companies. This puts two brothers in conflict. It is a world where nobody is really honest. Everyone from the boss to the janitor is corrupt at some level or the other. And what is worse. The powers that be will not let anyone leave. The dialogs which include a first person narration by Garfield's character are almost poetic as different characters lament about the state of their lives. Frankly, I can't say I cared too much for the film apart from its visuals. The plot was needlessly complicated. And apart from John Garfield, most of the other actors seemed to be quite unremarkable. None of the faces really stood out for me. I can understand how this film might have inspired the relationship between the brothers in The Raging Bull, Martin. Best Regards, Pimpin. (6/10)

Force of Evil (1948)John Garfield is the centerpiece of this high end crime film, and he's the problem. He's a great understated actor, sympathetic, gentle, and not quite the right man for this role as a sharp, ultimately cruel lawyer named Joe Morse in a sprawling criminal enterprise. So in scene after scene, what could have had a film noir or gangster edge ends up strained in a more normal dramatic way. The script might be one of the problems--some forced metaphors about death, or canned lines that are too profound for their own good.But these are not the only problems here. The direction, I suppose, under Abraham Polonsky, is the reason it has an odd flow to it. (This is his only film of note.) Many decisions seem steadily mediocre, like having Morse do voiceovers that aren't quite styling enough to work as style and are a slow way of telling the events. Morse is connected with an overly sweet girl who isn't really his type and romance doesn't make sense. And there are some editing gaffes that don't help. Larger still, this is an impersonal plot, with no clear protagonist or antagonist, just a numbers racket that is being undermined by some unseen politicians and some gangsters who aren't quite sure what's going on (really--even Morse is lost).Beatrice Pearson plays Morse's girl, and it's sad to say she just can't act at the same level as Garfield, and many of the other bit actors. But Morse's brother played by Thomas Gomez is a strong and sympathetic type, and he pulls off several amazing scenes. The camera-work is smart and generally intense enough, with high or low angles at key points, if sometimes a little obvious. The city (Manhattan) is a good backdrop, giving it a very nice ambiance, both night and day.Well, the movie has an outsized reputation. The shining moments and dark moods and the better final twenty minutes don't make up for the general messiness on many levels.