The Brothers Rico (1957)

Good concept, poorly executed.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

An old-fashioned movie made with new-fashioned finesse.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

Copyright 1956 by Columbia Pictures Corp. No New York opening. U.S. release: September 1957. U.K. release: 11 August 1957. Australian release: 1 August 1957. Sydney opening at the Victory. 94 minutes.SYNOPSIS: An ex-mobster turned successful businessman, Eddie Rico, is contacted by the syndicate to locate his younger brothers who have apparently double-crossed their gangland associates. He feels obliged to search for his brothers, not only to protect their lives but of his family as well. As he tracks his brothers down, the elder Rico begins to suspect ulterior motives for his frenzied manhunt.COMMENT: Slow-moving and not very satisfying crime melodrama. Just about all the action occurs off-camera and the film throws a considerable emphasis on talk. Skilful trimming improves the film no end. I have seen a version in which 20 minutes was lopped out. Diane Foster's part was reduced virtually to a walk-on and the consequent improvement in pace was amazing.However, we are reviewing the full version here - and that is a horse of a different color. After this elaborate build-up, the climax is disappointingly weak and tame and Larry Gates - his is the one outstanding portrayal in this film, you can actually sense the evil behind his gloved voice - seems to have a much smaller role than he does in the shortened version.Extensive locations lensing is an asset, although Karlson does not make all that much out of them. In fact, the handling is often uncomfortably reminiscent of a TV show, with lots of medium close-ups and the feeling that the film was shot on a very tight budget. The interior sets are not impressive and other production credits are merely capable.Conte's age is showing and one is not surprised to learn that this film virtually marked the end of his screen career. Aside from the Italian-made This Angry Age and Robert Rossen's They Came to Cordura, Conte depended exclusively on his buddy Frank Sinatra for future roles.

Richard Conte stars in "The Brothers Rico," a 1957 noir with James Darren, Larry Gates, Kathryn Grant, and Dianne Foster.Conte is Eddie Rico, a former mob accountant, now in the laundry business in Florida and quite successful. The first few scenes are filled with sexual innuendo and show a loving, romantic couple who hope to adopt a baby soon. Then Eddie gets a call from his old boss, Kubik (Gates) who wants to see him on an urgent matter. Considering his boss as "Uncle Sid," he goes to New York against his wife's (Foster) wishes.Eddie is approached by his brother Gino - he claims the mob wants him to go to St. Louis, and he's sure they plan to rub him out as he was part of a hit and the others who were involved are dead. Eddie advises him to go to St. Louis, that Sid wants him to lay low and would never hurt him. Kubik is grateful to their mother (Argentina Brunetti) who once stopped a bullet meant for him, so Eddie knows he will protect his brothers.When Eddie meets with Kubik, he learns that his brother Johnny is married and no one has heard from him. However, his wife's (Grant) brother has been talking to the DA about a mob witness. Eddie assures Sid it can't be Johnny. Kubik wants Eddie to find his brother and talk to him. Eddie does, not realizing that they just want to find Eddie and kill him. He realizes his mistake too late.This was a very good, edge of your seat noir, low on violence though suspenseful. It was on Empire's list of 500 greatest movies, so I wanted to check it out.Richard Conte does a great job as Eddie, who trusts the wrong people. This was his kind of role, playing the tough son of an immigrant, mixed up with the wrong people, but with a good heart. James Darren, now 67, hasn't changed much except in recent years he's let his hair go gray.One more point. Someone mentioned that the casting was ridiculous because there was a 26-year difference between Conte and Darren. Back in the '20s and '30s especially, women had children that died at birth or were stillborn - my grandmother had nine children and three lived. There is quiet a gap between the oldest and youngest in that family. That was not unusual.Everyone is very good in this film, and as a point of interest, the woman playing Argentina Brunetti's mother was, in fact, her real-life mother. Recommended.

Richard Conte plays an ex-gangster who's gone straight many years before the film begins. However, even though he's a successful businessman, he's called out of the blue to do them a couple favors. Unfortunately, it turns out that the mob is looking for his brothers--and although they claim to want to get them out of the country for their own good, it sure looks as if they are just using him as bait.The casting of this film left a lot to be desired. There was a 26 year difference in ages of Conte and Darren and they are supposed to be brothers! In addition, they looked like they were 26 years apart. Yet despite this, it's a taut and well-acted film. For lovers of film noir, you won't be disappointed--though the movie is more cerebral and less violent than most examples in the genre. Plus the plot if very interesting and kept me engaged throughout.

Former gangland auditor is persuaded to locate missing brother before mob is compelled to kill him.For a crime drama, that lengthy opening scene is a surprise. It's marital bliss all the way as Eddie (Conte) and wife Alice (Foster) cuddle up, providing a ton of promotional material for the censored 1950's. But more importantly, all the lovey-dovey defines Eddie's truly reformed character, plus Alice as a wife you'd want to come back to.For a Karlson crime drama, however, the violence is oddly played down by a director who knew how to make the audience shudder. Instead, paranoia mounts as Eddie sees suspicious characters wherever he goes in search of brother Johnny (Darren). When Johnny is finally confronted by the mob, Karlson oddly passes over the potential of a centerpiece violent scene. I suspect that's because of censorship concerns given Johnny's youth and the emotional buildup preceding it. Also, note how abruptly the final shootout is handled, as if they're suddenly running out of film.That early scene between Eddie and Kubik (Gates) is a minor masterpiece of treachery that carries through the rest of the film. As the oily family friend, Gates is simply superb. Excellent too is Harry Bellaver's smooth-talking local chieftain, who keeps appealing to Eddie's sense of survival.As a whole, however, the movie is more a collection of good scenes rather than overall impact. Maybe because there's a curious lack of intensity to heighten the dramatic narrative. Whatever the reason, it's a good crime drama without being first-rate.