Force Of Evil full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Force of Evil
	Theatrical release poster
Directed by	Abraham Polonsky
Produced by	Bob Roberts
Screenplay by	Abraham Polonsky; Ira Wolfert
Based on	the novel Tucker's People; by Ira Wolfert
Starring	John Garfield; Thomas Gomez; Marie Windsor
Music by	David Raksin
Cinematography	George Barnes
Edited by	Art Seid
Production; company	The Enterprise Studios
Distributed by	Metro-Goldwyn-Mayer
Release date	December 25, 1948 (United States); ; ; ; ;
Running time	78 minutes
Country	United States
Language	English
Box office	$1,165,000

Force of Evil is a 1948 American crime film noir directed by Abraham Polonsky who had already achieved a name for himself as a scriptwriter, most notably for the gritty boxing film Body and Soul (1947). Like Body and Soul, the film starred John Garfield. The film was adapted by Abraham Polonsky and Ira Wolfert from Wolfert's novel Tucker's People. The film marked the first on screen acting role of Beau Bridges.

In 1994, Force of Evil was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Screenplay

The drama tells of a lawyer, Joe Morse (Garfield), working for a powerful gangster, Tucker, who wishes to consolidate and control the numbers racket in New York. This means assuming control of the many smaller numbers rackets, one of which is run by Morse's older brother Leo Morse (Thomas Gomez). The plot which unfolds is a terse, melodramatic thriller notable for realist location photography, almost poetic dialogue and frequent biblical allusions (Cain and Abel, Judas's betrayal, stigmata).

John Garfield as Joe Morse
Beatrice Pearson as Doris Lowry
Thomas Gomez as Leo Morse
Marie Windsor as Edna Tucker
Howland Chamberlain as Frederick "Freddie" Bauer
Roy Roberts as Ben Tucker
Paul Fix as Bill Ficco
Stanley Prager as Wally
Barry Kelley as Det. Egan
Beau Bridges as Frankie Tucker

According to MGM records the film earned $948,000 in the US and $217,000 overseas.

Critical response

“Polonsky, along with Chaplin and Losey remains one of the great casualties of the anti-Communist hysteria of the fifties . Force of Evil stands up under repeated viewings as one of the great films of the modern American cinema and Garfield’s taxicab scene with Beatrice Pearson takes away some of the luster Kazan’s Brando- Steiger tour de force in On the Waterfront”

– Film historian Andrew Sarris (1968)'

When the film was released, the staff at Variety magazine gave the film a mixed review:

Force of Evil fails to develop the excitement hinted at in the title. Makers apparently couldn't decide on the best way to present an exposé of the numbers racket, winding up with neither fish nor fowl as far as hard-hitting racketeer meller is concerned. A poetic, almost allegorical, interpretation keeps intruding on the tougher elements of the plot. This factor adds no distinction and only makes the going tougher ... Garfield, as to be expected, comes through with a performance that gets everything out of the material furnished ... On the technical side, the production fares better than story-wise. The physical mounting is expertly valued; the New York locale shots give authenticity; and lensing by George Barnes, while a bit on the arty side, displays skilled craftsmanship.

Bosley Crowther, the film critic for The New York Times, liked the film, and wrote, "But for all its unpleasant nature, it must be said that this film is a dynamic crime-and-punishment drama, brilliantly and broadly realized. Out of material and ideas that have been worked over time after time, so that they've long since become stale and hackneyed, it gathers suspense and dread, a genuine feeling of the bleakness of crime and a terrible sense of doom. And it catches in eloquent tatters of on-the-wing dialogue moving intimations of the pathos of hopeful lives gone wrong."

Over the years, Force of Evil has been recognized as a masterpiece of the film noir genre, powerful in its poetic images and language, by film critics and historians such as William S. Pechter and Andrew Dickos. Its influence has been acknowledged many times by Martin Scorsese in the making of his crime dramas.