"The Enforcer", whose US title should have remained "Murder, Inc." is a greatly underrated film noir. With all the praise heaped on Humphrey Bogart over the decades, it is surprising that more viewers do not know this film at all.<br /><br />Perhaps the reason for the relative neglect of "The Enforcer" lies in its total lack of romantic interest. In Bogart's most popular work, he is usually paired with a well-liked female star. And in common with the contemporary "Kiss Tomorrow Goodbye" (starring James Cagney), there is a pervasive atmosphere of evil. More than half the film is shot in nearly pitch-dark interiors, creating a strong sense of claustrophobia and fatalism.<br /><br />"The Enforcer" sets Bogart's detective Ferguson against one of the darkest and most amoral villains in the annals of noir. It isn't likely that Everett Sloane ever received his due for this brilliant characterization: his 'Mendoza' is so matter-of-fact, so chillingly calculated.<br /><br />Told in a complex, but intelligible series of flashbacks, the film establishes a world where evil exerts an overwhelming influence. In the opening sequence, we see a tough hit man (Ted De Corsia) reduced to whimpering terror at the thought of Mendoza's revenge turned upon him. De Corsia gives an extremely fine performance, as do Bogart, King Donovan, a then nearly unknown Zero Mostel, and Jack Lambert, to name just a few.<br /><br />One slight criticism: how could it be that Ferguson and his men have never heard the terms "contract" and "hit" before? Did these now well-known underworld expressions originate here? It seems unlikely. But this, and an occasional reliance on happy coincidence, should not subtract from the many pleasures of this dark gem.