Les frères Rico

Phil Karlson's (Walking Tall/Ben) 1957 crime thriller starring Richard Conte. Conte is a successful businessman in Florida w/a happy home life (his wife however is infertile but they are in the process of adoption) & all of this is interrupted by a cryptic phone call summoning him to Arizona for a one on one conference. He goes & meets w/a man who has been pulling his strings for the majority of his & his family's life. It turns out Conte has been tied to the mob for some time & even though his current business concerns are legitimate, his brother (who's part of this capo's crew & has gone into hiding) has committed murder & the boss fearing if caught, will spill to the authorities decides to rub him out w/Conte's help. At first hoping his familial loyalty will convince him of turning over his brother (he actually believes him at this point), Conte instead flies out to California to warn a third brother to run away (even though his own wife is expecting) but all along as much as Conte tries to keep his movements close to his vest, the mob boss's minions are on him every step of the way. A demoralizing hero's journey is taken whereby the cold waters of reality wash over him in the worst possible way w/blood being the price to be paid. Conte is excellent here & his trek to the unknown plays like a travelogue of the worst kind as he city skips his way to a bitter truth. Co-starring James Darren (I remember him from TJ Hooker growing up) as one of Conte's brothers.

It's a long way from the Little Caesars, Public Enemies and Scarfaces of the earliest sound movies to the Godfathers, Goodfellas and Scarfaces Miami-style of more recent decades. Along the way, there were intermediate stages, and director Phil Karlson (99 River Street, Kansas City Confidential) tries his hand at one -- oddly enough, working from material by venerable French pulp-writer Georges Simenon. Richard Conte runs a commercial laundry and, with his new wife, is trying to adopt a child; after a tarnished youth, he's gone straight. The younger males in his family, it so happens, have not, and a syndicate kingpin sends Conte off to smoke out his youngest brother, in hiding, supposedly to save his life; the young squirt is played by 50s recording heart-throb Bobby Darrin. But Conte is just being used as bait.... The Brothers Rico introduces us to an all-American, corporate, impersonal view of organized crime, ranging from New York's Mulberry Street to palm-fanned Florida to the mobbed-up sunbelt of Phoenix -- and to a world where the terms "family" has lost all of its many meanings. Only the bottom line now counts.

The Brothers Rico is directed by Phil Karlson and adapted to screenplay by Lewis Meltzer, Ben Perry and Dalton Trumbo from a story written by Georges Simenon. It stars Richard Conte, Dianne Foster, Kathryn Crosby, Larry Gates and James Darren. Music is scored by George Duning and cinematography by Burnett Guffey.

Retired from the mob and happy in his new found family life, Eddie Rico (Conte) is pulled back into the underworld when word comes that his two brothers, who are still working for the syndicate, are wanted men.

Coming at the end of the film noir cycle, The Brothers Rico sits somewhere in between noir and pure crime drama. Conte's character is a classic noir protagonist, a man who is unable to shake of his past and gets drawn into the dark underworld by family ties. Waiting there for him is a surprise, and not a good one at that. The script is very well written, which in Karlson's hands paints a sinister mob underworld operating right under the noses of everyday folk. There's much talking and very little action for most of the running time, but the dialogue is strong, always imbuing the narrative with a sense of menace, background characters are always a threat and violence implied looms over proceedings.

However, in spite of it being well written and acted with great skill by Conte, Gates and the support cast, it's a dull visual experience and crowned off by a ridiculous "aint life grand epilogue". Top cinematographer Burnett Guffey is wasted here, the film is very minimalist in production, with the film often feeling like an episode of some TV cop show. There's a brief glimpse in the last five minutes of what Guffey could do, but that's it. Conte's character provides the ticket to the noir universe, but ultimately this represents the changing of the guard, a winding down of true film noir. From a viewpoint of the film being a crime drama that provides an observation of a crime syndicate as a real presence, Karlson's movie scores a more than safe 7/10. As a film noir, though, it barely registers and noir fans should expect a flat 5/10 movie. Rounded out I make it 6/10.

Phil Karlson may not be one of the 'great' American directors but he was a very fine genre director, specializing in tough, gritty gangster thrillers of which "The Brothers Rico" is just one. Richard Conte is the retired mob accountant who finds himself drawn back to his criminal past when one of his former associates asks him for a favour on the same day his brother confesses to carrying out a hit and Larry Gates is excellent as the mob boss who drags him back in. Others in a decent cast include Dianne Foster as Conte's wife, James Darren as the younger brother whose actions set the plot in motion, Kathryn Grant as Darren's wife and later director Lamont Johnson as one of the few 'good' guys.

The source material was a story by none other than Georges Simenon though you probably would never guess it. This is a good, old-fashioned mob movie, the kind that would sit nicely on a double-bill with either Siegel's "The Killers" or Boorman's "Point Blank". Conte spends most of the movie chasing after Darren while Gates' heavies close in and until the end action is kept to a minimum. You could say this is an American gangster film reflected through a European art-house lens. With a better actor than Conte in the lead it might have been a classic but even with Conte it still exerts a grip while the excellent black and white cinematography was the work of the great Burnett Guffey.

An entertaining film noir as the genre was nearing its end. Here we had a look at the gangster-mob life from a different perspective. Richard Conte plays Eddie Rico who worked for his uncle Kubik. The film begins with an ominous phone call as Eddie is told he needs to take in a mob member who is hiding from the justice. Eddie complies although he wishes to not get involved. He is currently trying to adopt a child with his wife.

Eddie is called out by Kubik to find their missing brother Johnny. When Eddie runs into his brothers Gino and Johnny, he tells them to trust the mob and follow their instructions. Eddie believes that fidelity is still a virtue among the mob bosses. He is committed to the cause and will do anything to make sure his brothers continue to survive. As a noir, it moves from Florida to New York to Phoenix and California, becoming one of the few national noirs (there is none I can think of right now).

The film is shot in a minimalist fashion. Most of the sound is diegetic based on the scenes on screen. On several occasions, melodramatic music plays which actually tones down the suspense, but clearly it is a tool used by the director to deprive the viewer of expected non-diegetic music. Richard Conte and his wife are very playful in the early scenes and risqué for the period as they engage playfully in the bathroom. As a mob movie with an Italian background, it continues the early gangster movies but takes the angle of the people down the line who are at the mercy of those at the top.

The Brothers Rico is worthwhile as an entertaining movie if you enjoy film-noir and tracing the developments of gangster films.