Film versions of Brighton Rock and further thoughts about its allegorical structure

Following up from yesterday - Atlantic City was an original screenplay, not an adaptation of Brighton Rock (Graham Greene), although I think an updated Brighton Rock could be set in today's AC. There have been 2 film versions of BR, one from 1947 and another from 2010 - neither a big success, I imagine. Greene's fine narrative hits its stride in the section where Pinkie goes to the Brighton race track w/ the member of his crew whom he wants to get rid of; he thinks he has a deal worked out with the rival Colleone gang to kill the guy, but it turns out he was double-crossed and the Colleone gang turns on him instead - though he does managed to escape w/ a # of knife wounds. He still thinks his man was killed however, but it surprised when he gets back to his apartment to learn that his man escaped the attack as well. Enough said, he pushes the guy over a banister and more or less walks away: he is completely cold-blooded and socially deranged. In other to keep the last witness, Rose, quiet he sets up a scheme to marry her (they're both teenagers, so this requires some legal intervention) - and GG makes it clear that Pinkie not only dislikes Rose but he's repulsed by sexuality (he grew up in a small house w/ no privacy and was frightened and disturbed when he could hear his parents having sex and seems to never have recovered - quite the head case). Once again, it becomes increasingly clear that GG is writing some kind of allegorical crime novel, with the forces of darkness and atheism in conflict with the goodness and mercy, represented by Ida, who at her own expense is trying to figure out how her casual friend, Hale, actually died - the police have written it off as a heart attack - and who killed him. The 2 women in this novel, Rose and Ida, seem seriously endangered as they entwine their lives with the satanic Pinkie.