Abraham Polonsky Movies

Winner of the Best Jewish Experience Documentary award at the 1998 Jerusalem Film Festival, this A&E program directed by Simcha Jacobovici was also hailed as "provocative and engaging" by John Leonard in New York Magazine and "shrewdly on target" by Caryn James in The New York Times. Essentially an adaptation of Neal Gabler's award-winning, somewhat controversial book Hollywood: An Empire of Their Own: How The Jews Invented Hollywood, this documentary chronicles the amazing success story of the half-dozen Jewish immigrants or sons of immigrants who created the movie industry studio system and became the moguls of Hollywood during its Golden Age. Highlights include archival footage, interviews, and commentary on these leaders, including Adolph Zukor, founder of Paramount; Carl Laemmle, founder of Universal; Jack and Samuel Warner, founders of Warner Bros.; Louis B. Mayer, founder of MGM; William Fox, head of 20th Century-Fox; and Harry Cohn, who ran Columbia Pictures. ~ Steve Blackburn, Rovi

Lee Marvin plays a CIA agent who lures a Soviet biological warfare expert aboard a European train in the hopes of murdering the expert, thus eliminating a world threat. Things go awry when the train is caught in an avalanche. ~ Rovi

After being blacklisted from Hollywood for 21 years, writer/director Abraham Polonsky made a healthy comeback with Tell Them Willie Boy is Here. The title character, played by Robert Blake, is a Paiute Indian living in 1909 California. After several years in the White Man's world, Willie Boy returns to his reservation, hoping to renew his romance with tribeswoman Lola (Katherine Ross). Old Mike (Mike Angel), Lola's father, strongly disapproves of her relationship with Willie Boy and attacks the youth. Acting in self defense, Willie Boy kills Old Mike. Under tribal rules, Willie Boy is now permitted to claim Lola as his woman. But white lawman Christopher Cooper (Robert Redford) is forced to charge Willie Boy with murder. The Indian and his girl escape the reservation, pursued by the essentially decent Cooper and a less-than-decent crowd of white vigilantes. What begins as comparative minor incident, snowballs into a huge political crisis, with the bewildered but defiant Willie Boy as the catalyst. Tell Them Willie Boy is Here is distinguished by the fine performances of leading players Redford, Blake, Ross and Susan Clark, and by the haunting cinematography of Conrad Hall. ~ Hal Erickson, Rovi

Harry Belafonte was both producer and star of this hard-edged film noir crime drama. Dave Burke (Ed Begley, Sr.) is an ex-cop who has been kicked off the force for refusing to inform on his colleagues to the State Crime Committee. Short on money, the former policeman jumps to the other side of the law and plans to knock over a bank in upstate New York. He'll need help, so Burke brings in two other men to assist him -- Johnny Ingram (Belafonte), a jazz musician with an addiction to gambling that's put him deep in debt to gangster Bacco (Will Kuluva), and Earl Slater (Robert Ryan), a disturbed war veteran who hasn't been able to find work after serving time for manslaughter. While their common greed and desperation has brought these men together, their differences threaten to tear them apart, especially when Slater's fear and hatred of black men rises to the surface. Blacklisted screenwriter Abraham Polonsky co-wrote the screenplay for Odds Against Tomorrow, using his friend John O. Killens as a "front." John Lewis of the Modern Jazz Quartet contributed a memorable musical score. ~ Mark Deming, Rovi

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, Rovi

Based on a novel by Yolanda Foldes, this confusing romantic adventure concerns a love affair and international espionage. Told in flashback, British officer Ralph Denistoun (Ray Milland) recounts the story to American journalist Quentin Reynolds. Before WWII, British Intelligence officers Ralph and Richard (Bruce Lester) were held captive by Nazis who wanted to know about Prof. Otto Krosigk's (Reinhold Schunzel) secret formula. Ralph and Richard escape, deciding to look for Krosigk separately with the plan to meet up again in Stuttgart. Then Ralph meets gypsy woman Lydia (Marlene Dietrich) in the forest. She disguises him, gives him golden earrings to wear, and leads him through the forest. Ralph eventually fights the gypsy leader Zoltan (Murvyn Vye) and wins his respect. He joins the band of gypsies and heads to Stuttgart where he meets Richard and reads the horrible fate in his palm. He then meets Krosigk, who gives him the secret formula. He is then able to escape, but promises to return for Lydia. The story ends with Lydia and Ralph meeting again in the forest after the war is over. ~ Andrea LeVasseur, Rovi