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Marie Windsor (Emily Marie Bertelson) (1923- ) Noir Filmography Force of Evil (MGM, 1948) Based on an obscure crime novel titled Tucker's People, Abraham Polonsky's Force of Evil has attained classic status since its release in 1948, when film noir was thriving on the fringes of the Hollywood studio system, where the shadowy attributes of noir were allowed their fullest expression. Which is to say, this gritty drama is drenched in greed, cynicism, and corruption of the soul, as embodied by John Garfield in one of his most memorable roles. He's perfectly cast as Joe Morse, a lawyer whose connection to a ruthless racketeer has nearly destroyed his sense of morality. His participation in a rigged numbers racket could prove disastrous for his high-strung older brother (superbly played by Thomas Gomez), whose small-time policy bank stands to go broke when the rigged numbers pay off--a financial windfall for Joe's powerful boss at everyone else's expense.Joe's corruption is tempered only by remnants of guilt and his redeeming attraction to Edna (Marie Windsor), his brother's secretary, whose common decency gnaws at Joe's rotten conscience. But before Joe can rise from his self-made hell, Force of Evil takes him to the darkest pit of tragic humanity--a downward spiral perfectly expressed through George Barnes's exquisitely stark cinematography. In style and substance, this is quintessential noir, its plot unfolding with uncompromising toughness and intelligence. More's the pity, then, that director Polonsky was later victimized by the Hollywood blacklist, curtailing a promising career for two decades until Polonsky directed Robert Redford in 1969's Tell Them Willie Boy Is Here. It seems only fitting, then, that Polonsky's remarkable debut is now recognized as one of the finest dramas of its kind. --Jeff Shannon Force of Evil Buy the VHS cassette from Amazon.com The Narrow Margin (RKO, 1952) The Sniper (Columbia, 1952) The City that Never Sleeps (Republic, 1953) City That Never Sleeps Buy the VHS cassette from Amazon.com The Killing (United Artists, 1956) Stanley Kubrick's third feature, and first screen classic, is one of the great crime films of the 1950s. The Killing was written in collaboration with Jim Thompson, who penned pulp novels like The Grifters, The Killer Inside Me, and Pop. 1280, all of which were made into classic films. This time writing directly for the screen, Thompson joined with Kubrick to concoct a story about a desperate gang of lowlifes led by a grim, determined Sterling Hayden. Together they devise and execute a complex racetrack robbery, but inner tensions and the iron fist of fate work against them. The cast is uniformly superb, with Hayden, Jay C. Flippen, Timothy Carey, Marie Windsor, and Elisha Cook Jr. fleshing out characters torn between grandiose ambition and petty desire. Cinematographer Lucian Ballard fashions distorted, starkly lit interiors that reflect the psychological tensions of the characters. He and Kubrick also create one of the most memorably ironic final sequences in film history.The Killing is a perfect introduction to the art and joys of film noir, and its bizarre narrative structure has been copied many times since. For a terrific double feature, see it with John Huston's The Asphalt Jungle, another noir masterpiece featuring Hayden; or Paths of Glory, Kubrick's next picture, again cowritten with Thompson; or even Jackie Brown, in which Quentin Tarantino pays homage to the ways this film leaps around in time. More commercial than some of Kubrick's later work, The Killing remains a tour de force by one of the world's finest filmmakers. --Raphael Shargel The Killing Buy the DVD from Amazon.com The Killing Buy the VHS cassette from Amazon.com The Outfit (MGM, 1973)
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