Die Macht des Bösen (1948)

Die Macht des Bösen: Directed by Abraham Polonsky. With John Garfield, Thomas Gomez, Marie Windsor, Howland Chamberlain. An unethical lawyer, with an older brother he wants to help, becomes a partner with a client in the numbers racket.

“This is a change of pace from the norm of film noir. Film noir of course is a varied group of films and there is no one way to do it, certainly not a right one. It was tracing illusory and disorienting existence in the big city after all, itself fluid and malleable, and thatu0026#39;s what we get here.u003cbr/u003eu003cbr/u003eBut a few differences help cast a light on what this is:u003cbr/u003eu003cbr/u003eu003culu003eu003cliu003ethe protagonist is not a gumshoe unraveling a case or hapless schmuck crushed by the fates. Heu0026#39;s a cocky narrator, as much in control of what happens as anyone else, and in on it from the start. He has the usual fast-talking bravado, he glides smoothly, sweeps the girl off her feet. And yet his real impetus is wanting to pay back a big brother who sacrificed to get him out of tenement life.u003c/liu003eu003c/ulu003eu003cbr/u003eu003cbr/u003eu003culu003eu003cliu003ethe girl is not some world-savvy dame but a sweet, innocent soul who instinctively backs out of the racket when it starts to feel wrong and is ready to fall for him only tentatively, guarding herself as she gives way.u003c/liu003eu003c/ulu003eu003cbr/u003eu003cbr/u003eAll through this New York looks gritty rather than sultry, the narrative light is harsh and anxious. The contrast is between not entirely legal but not entirely immoral slum life, and the new cut-throat world of big business coming for the little guy. Itu0026#39;s a bit of stretch to show the smalltime hustlers as the personable u0026#39;good guysu0026#39; but thatu0026#39;s the short-hand used. Its real progenitors are gangster films.u003cbr/u003eu003cbr/u003eu003culu003eu003cliu003eAnd third, there is a scheme underway that resolves all this, to turn a numbers racket run piecemeal from tenement backrooms into a respectable, lucrative business run from Wall Street.u003c/liu003eu003c/ulu003eu003cbr/u003eu003cbr/u003eThereu0026#39;s a lot of talk throughout, in that rat-tat-tat fashion of Hollywood. The dialogue verges on histrionic, and the whole has a verbose feel, but one that feels like someone has studied this life and is trying to come back with an honest depiction. It has a thickness of world to it, although the mannerisms are obvious.u003cbr/u003eu003cbr/u003eHereu0026#39;s the cinch and what probably earned the movie a reputation as left-wing and landed the filmmaker in the famous HUAC blacklist.u003cbr/u003eu003cbr/u003eThe scheme works, the older brother eventually goes along with it, who had earlier made a big moral stand against it. The girl is swept off her feet. Our guy stands to make a fortune, help his brother, and get the girl who is not a dame like his bossu0026#39;s wife.u003cbr/u003eu003cbr/u003eExcept, in unchecked capitalism no one is really in control. Police had been watching but itu0026#39;s the nerve-wracked bookkeeper who sets the scene for grievous consequences to follow. The moral resolution is that it works but at what price to the soul; the lesson remains that a life of scheming doesnu0026#39;t pay and Iu0026#39;m not bowled over in this case.u003cbr/u003eu003cbr/u003eEven more pertinently however, were the smalltime hustlers a boon to their community? They were running much the same lottery, working peoplesu0026#39; money for the promise that maybe this week itu0026#39;ll be you. But it seems there were bonds of community which the merger frays and disturbs. Youu0026#39;ll see that itu0026#39;s our herou0026#39;s tie to a human story rooted in community that really foils the plan.u003cbr/u003eu003cbr/u003eThe evocative finale with the couple descending stairs with the Brooklyn Bridge hulking above them is a favorite. In fact my favorite bits here all revolve around these two and their unlikely bond, their playful interplay against the larger background.”