La fratellanza

Not only is this film's story-telling sort of like in a filmed stage play (just people talking all along), but its looks (images and set design) are quite second-rate, like in a low-budget ready-for-TV movie. The acting is extremely poor, over-acting everywhere (compare this with "The Godfather" and its brilliant cast, and its excellent cinematography by Gordon Willis), and Kirk Douglas looks about as Italian as I appear Chinese. All in all, a major disappointment.

Brotherhood, The (1968)

*** (out of 4)

Calm but effective tale of Mafia boss Frank Ginetta (Kirk Douglas) who welcomes his younger brother Vince (Alex Cord) into the "family" but soon the two are at odds. Frank, being of an old school, wants to keep old traditions while Vince wants to move ahead and try new things. Soon Frank starts to battle the heads of the other families trying to get his way. THE BROTHERHOOD was apparently a disaster when it was first released and legend has it that this is the film that made Paramount nervous about giving money for THE GODFATHER. Whether or not that legend is true is beyond me but I think it's fair to say that had THE GODFATHER not been a hit and become known as one of the greatest films ever made then perhaps this 1968 movie might have gained a cult following over time. As it is, THE BROTHERHOOD has pretty much been forgotten over time and that's a shame because it's actually a pretty good movie. I think the film's weakest parts are the opening thirty-minutes or so as we get a few flashbacks and at times they don't make too much since. I think director Martin Ritt loses the story at times and a lot of this is due to some rather silly moments where we're being introduced to the mob and the lifestyle. These early scenes really don't add up to much and I think the screenplay also suffers at building up Frank's character. It's never quite clear what type of leader he is and it's never made clear whether we're supposed to be with him or against him. This changes once the real story kicks into place and that's pretty much your typical brother vs. brother thing that we've seen countless times in the past. This aspect of the story is probably the most unoriginal but it's where all the drama comes from and at times this drama is very high. I thought the second half of the film is where Douglas really came to life as well. Once he character starts to crack under all the pressure is when things really started to heat up and this includes Douglas who finally becomes very menacing. I really loved the way Douglas played the old tradition while being at odds with the new stuff in the family. Cord is also very good in his supporting role as is Murray Hamilton, Susan Strasberg, Luther Adler and Irene Papas. While watching the film you can't help but see a minor influence on the Coppola film but also there are a few bits and pieces in Martin Scorsese's GOODFELLAS. There are a couple extremely memorable moments including a "joke" that Douglas tells before carrying out a hit. Then, when we see this hit, it's quite disturbing to watch and even more shocking is that it's done without gore, blood or even much violence. The ending, which you'll see coming, is also done in a very nice way as there's an added twist that is very effective. THE BROTHERHOOD has many flaws but it's still worth viewing and even if you find it starting pretty slow, just stick in there and you'll be rewarded.

This Martin Ritt work,which is not among his best (Hombre,Hud,etc) ,features a prologue and an epilogue,which take place in Sicily(but a studio Sicily as the final cast and credits says);two short bits which frame an endless flashback which explains(?) why Vince (Cord) must(!) kill brother Kirk.This long hour features the de rigueur mafioso -the good(?) and the bad ones-,the obligatory wedding scene ,proud family chronicles ,etc etc etc:plus ça change..

It's too bad Ritt did not focus his story on Sicily ,a Sicily he should have filmed on location instead .The only good scenes are the final ones ,and Irene Papas could have added a Greek tragedy touch ,hadn't her part been so underwritten.

Some will find here roots of "the godfather" ,but I would go as far as saying that it questions the hitherto excellence of the Coppola movie.Its eternal triumph (with an obnoxious subject) leaves me with a bitter taste in the mouth.

As for Martin Ritt,there are plenty of estimable works to choose.Avoid this.

The son of a powerful Organized Crime -Mafia- don comes home from his army service in Vietnam and wishes to lead his own life. This is a young man called Vince Ginetta (Alex Cord) that his older brother Frank Ginetta (Kirk Douglas) raised with selfless devotion, following the family tradition. As intrigues and powerplays involving his older brother dictate otherwise, and he finds himself being slowly drawn back into that world. But Frank Ginetta is a veteran member of the mafia who refuses to accept the new principles of his brother Vince. Things go wrong when the Mafia high council (Luther Adler, Val Avery, Alan Hewitt and Murray Hamilton) in New York, together with outvote Frank Ginetta all the time. And Vince executes orders of the council, while Frank refusal to follow the higher dictates, it leads both to a confrontation, emulating Cain and Abel, resulting in sad consequences. Honor, Loyalty, Betrayal !.

The central theme of the film is the confrontation between two hot-headed brothers from a Mafia syndicate, who clash over old and new methods and the changing of the guard in the Family. In this film, Kirk Douglas, dressed up with a drooping mustache and dyed hair, excels in his role as a New York syndicate board member who has nostalgic memories of how much better things were done in the old Mafia days. Not surprisingly, he turns on the syndicate and runs off to retire to Sicily. The picture is passable and acceptable enough, but not remarkable. Martin Ritt can't do much with the chest-beating that accompanies this tale of brotherly love, self-sacrifice and providing a far-fetched as well as failed notion of believably portraying the physical aesthetic and singular temperament of Sicilians. So he slowly and stolidly makes his way through the bitter and the new, stopping for a few interesting and exciting scenes. Kirk Douglas gives the best performance with his usually over-the-top style allowing him to liven things up; far below is newcomer Alex Cord, who gives an inferior and weak interpretation compared to that of the Hollywood towering Kirk Douglas. Much of the movie's failure was attributed to lack of chemistry between Kirk Douglas and Alex Cord. While normally fine Greek actress Irene Papas is really wasted and Luther Adler briefly steals the show as a plump, greasy, rather likeable snitch who becomes respectable. Joining these superior actors are a host of well-known supporting actors, such as: Susan Strasberg, Murray Hamilton, Eduardo Ciannelli, Joe De Santis, Connie Scott, Val Avery, Alan Hewitt, Barry Primus, and look for very brief appearances from Hal Holbrook, and even Paul Reubens.

In the film there is also a historical remark when the role played by the old mafia boss Eduardo Ciannelli explains that it is necessary to carry out a bloody revenge for some events of the past, thus he refers to notorious kingpin Lucky Luciano and about the person to be killed, a stool pigeon who told Lucky the people to murder. Luciano was one of the bosses of the Mafia and leader of Cosa Nostra or Mafia, and soon became a chief in the Reina Family during the height of the Castellammarese War. Subsequently, taking place a Mafian War between Salvatore Maranzano, who eventually defeated the faction headed by rival Joseph Masseria . After Masseria's murder , this position was short-lived, as Maranzano himself was murdered in 1931. Then , the family is headed by Charles "Lucky" Luciano , eventually known as the Genovese Family. He orders the slaughter of 40 other responsible , a famous massacre nicknamed Sicilian Vespers, therefore becoming the only boss.

The motion picture was professional but unevenly directed by Martin Ritt and it did not do very well at the box office. As a result, studios were reluctant to do more Mafia stories, that's why it almost convinced Paramount not to make The Godfather (1972). ¨Edge of the city¨(1957) resulted to be Martin Ritt's first directing assignment after being blacklisted in the 1950s and he went on to direct 25 more films, including some classics. Ritt was an expert on dramas such as ¨Stanley and Iris¨ , ¨Nut¨ , ¨Norma Rae¨ , ¨The front¨, ¨The Sound and the Fury¨ , ¨Black orchid¨ , though also directed films of all kind of genres such as : ¨The Spy Who Came in from the Cold¨ , ¨The Great White Hope¨ , and ¨Molly McGuire¨ . Martin Ritt worked with Paul Newman in two Westerns : ¨Hombre¨ and ¨Outrage¨ and two dramas : ¨Hud¨, ¨Hemingway's Adventures of a Young Man ¨. ¨Mafia¨ rating : 6/10, a decent family thriller . It will appeal to drama enthusiasts and Kirk Douglas fans. Well worth watching, it's considered to be an adequate precedent to ¨The Godfather¨, although it is not one of Martin Ritt's best films.

This is a Mafia drama about, among other things, conflict between some heads of the organization wanting to behave on the surface like a respectable modern business, as opposed to another who is ready to resort on occasion to "the old ways" of brutality and violence with opponents.

This film died a quick death at the 1968 box office, becoming enough of a concern that some Paramount executives were worried about spending the big bucks on a film adaption of Puzo's The Godfather a few years later. The Francis Ford Coppola film, of course, was a huge hit which has gone on to become a film legend, while The Brotherhood is pretty much forgotten today.

But this earlier Martin Ritt directed Mafia exploration, while lacking the drama and epic quality of the Coppola film, still has some things to recommend it. Kirk Douglas is solid as one of the heads of a Mafia syndicate in conflict with other heads of that organization as to how to deal with "finks," as Douglas calls them. The other heads want to stay out of the headlines as much as possible. They also want to expand the business in ways that the more cautious Douglas doesn't like.

The Brotherhood precedes The Godfather by having a big marriage sequence in which all members of the family and old members of the Mafia gather for a festive occasion. Douglas plays the gracious host, and is full of ebullience and charm. At one point, though, he takes a few seconds to talk to two torpedoes who have just returned from having Douglas that is the highlight of the production. For reasons of plot giveaways I can't reveal the contents of this tense sequence. Suffice it to say, if the film had had one or two other scenes as potent as this one The Brotherhood might be better remembered today.

A minor crime drama, in the final analysis, one distinguished by some good performances, and that gripping scene between Douglas and Adler. made a hit for him. Reassured from them that all went well, Douglas is immediately back to the smiles and charm as party host.

Cast in the role of Douglas's younger brother who wants into the organization is Alex Cord. I'm tempted to call him Alex Cord of Wood because that would best sum up his performance. If ever there was a contrast in what is and is not charismatic on screen it would be a comparison between Cord and Douglas.

Irene Papas, playing Douglas's wife, is largely wasted in the film, I'm sorry to say. However, playing an old time Mafioso big boss that Douglas respects is Hollywood veteran Eduardo Ciannelli, and Ciannelli is terrific in his part, with one scene that is quite riveting. It's nice to see the character actor with an opportunity to still strut his stuff in a role that was ideal casting for him (you might regard it as the character that he had played in 1937's Marked Woman thirty years before).

Also impressive in this drama is Luther Adler as one of the heads of the Mafia. Luther will play a very strong scene in this film with Douglas that is the highlight of the production. For reasons of plot giveaways I can't reveal the contents of this tense sequence. Suffice it to say, if the film had had one or two other scenes as potent as this one The Brotherhood might be better remembered today.

In the final analysis, this is a minor crime drama, one distinguished by some good performances, and that gripping scene between Douglas and Adler.