Orchid, der Gangsterbruder

Cute little gangster dramedy about a racketeer (Edward G) who finds "real class" in a monastery while on the lam from rival gangsters led by Bogie. Bogie himself (in, thankfully, one of his last supporting roles before stardom) has little presence in the film. Ann Sothern as Edward G's girlfriend steals the movie in whatever scene she's in.

Could've been real dull without the presence of both Robinson and Sothern. As it is, it's alright for a rainy day viewing.

Brother Orchid (1940)

Edward G. Robinson plays first fiddle here, a mob boss jaded with the business and leaving it in Humphrey Bogart's hands while he goes to Europe. For five years. He comes back broke, and he's surprised he isn't boss anymore. Ha. That's just the first twenty minutes. There are more mob doings, and then it takes an odd couple of twists that give the movie its distinction.

"Brother Orchid" is fast, it's classic mobster stuff, and yet it's never hard edged and mean, as if it knows by 1940 the genre is old and people watching it have a bit of of nostalgia for it. (This isn't really true, however, as Cagney's most polished and possibly best gangster movie was White Heat in 1949. By the way, Cagney was originally slated for Robinson's role.) It is a light comedy around the edges, and Ralph Bellamy is the one truly comic character. But Ann Southern as the lead girl plays a lighthearted moll.

The mood here is to entertain. The title is odd from outside the theater but it makes sense after seeing it, and it's this second half of the movie that makes it all a little too starry eyed, even if it's also tongue-in-cheek. But most of all, it's totally enjoyable. Bogart, who appears really for just a couple minutes of screen time total, is restrained and not the classic Bogart just emerging ("The Maltese Falcon" and "High Sierra" are both 1941). But Robinson is in usual top form, subtle, peculiar, convincing, sympathetic. He even delivers some very sentimental lines with such earthy conviction you can believe him. Almost.

"Brother Orchid" is a slight variation on the gangster films which put "Warner Bros" on the map in the first place. Edward G. Robinson is cast once again as a mobster but with a difference. After being frozen out by the mob and left for dead, Robinson finds his way to a monastery. The head monk - well played by Donald Crisp - takes pity on the gangster and offers him a place of shelter and also a new way of life. The results are both amusing and less than successful. I enjoyed what this film has to offer, the story is interesting. Edward G. Robinson dominates "Brother Orchid" but Humphrey Bogart still does his thing. The two have an almighty clash during the climax and it is worth waiting for.

After a life of leading rackets you retire, intent on broadening horizons rising higher, in the world of upper classes, you'll reside above the masses, until the day that all is spent and you require; so a trip back to the guys to reassert, leaves you running through the hills, shot through, in dirt, double crossed, misled, betrayed, on the brink of your own grave, found and rescued, then encouraged to wear skirt; it takes some time til buds and shoots start to appear, in this world that's rather plain, somewhat austere, a deviation then side-tracks, as you curtail with vengeful axe, to return to those blessed hands, and volunteer.

Ann Sothern is great.

Worth renting or catching on late night TV, "Brother Orchid" is a 1940 hybrid, a film that uneasily coasts between comedy and drama. With both Edward G. Robinson and Humphrey Bogart capturing theater marquees with both violent crime and some serious drama roles this film is sort of a detour but it's a good one.

Robinson plays a gangster chief who quits the mob to undertake a long and financially ruinous Grand Tour of Europe. Returning to the U.S. he is astounded to discover that he can't pick up the reins he once held firmly and that his former underboss, Bogart, wants him out of the way - permanently. Bogart's talent is not very much on display in this movie.

Robinson winds up hiding in a friary populated by gentle souls and, of course, his condition is gentled under their patient ministration.

Ann Sothern is terrific as his "fiancee," a gang moll waiting long and patiently for the march to the altar. Ralph Bellamy is amusing as a Western rancher who exudes a patience and understanding more often associated with saints than cowboys.

For those who enjoy the pre-World War II Hollywood crime films this one is just different enough from the formula, and very violent, ones.