The Movie That Nearly Killed The Godfather: The Brotherhood (1968, directed by Martin Ritt)


Brotherhood_1968Once upon a time, Paramount Pictures released a movie about an Italian-American organized crime family.

It was a self-styled epic that used the Mafia as a metaphor for both business and politics.  The movie mixed scenes of violent death with family and community ceremonies.   The main mafioso was played by a famous actor who was a big box office draw in the 1950s and another character, a war hero who was initially reluctant to get involved in the family business, was played by an up-and-coming young actor.   The majority of the movie took place in New York but there were several scenes that were set in Sicily.

It may sound like The Godfather but actually, it was The Brotherhood, a film that flopped so badly that Paramount executives nearly passed on the chance to make a movie out of Mario Puzo’s bestselling novel.  According to Peter Biskind’s The Godfather Companion, Francis Ford Coppola frequently cited The Brotherhood as being exactly the type of movie that he did not want to make while he was directing The Godfather.

Kirk Douglas, who both produced and starred, plays Frank Ginetta.  Frank, an old-fashioned and honorable mobster, is hiding out in Sicily with his wife, Ida (Irene Pappas).  Frank knows that a rival gangster, Jim Egan (Murray Hamilton), has put a price on his head.  When Frank’s brother, Vinnie (Alex Cord), shows up in Palermo, Frank is overjoyed at first.  But Ida reminds him, “They’re going to send someone.”

Most of the film is taken up with flashback to Frank and Vinnie’s old life in New York.  When Vinnie returns from serving in the army, he marries Emma Bertolo (Susan Strasberg), the daughter of Don Bertolo (Luther Adler who, as a stage actor and director, served as an early mentor to the future Don Corleone, Marlon Brando).  Frank grew up idolizing their Sicilian father and, at first, he is happy when Vinnie announces that he wants to enter the “family business.”  But then Vinnie starts to side with non-Sicilian gangsters like Egan and Sol Levin (Alan Hewitt).

The scenes in Sicily work the best, with Frank unsure as to whether or not Vinnie has arrived to visit or to murder him.  But the scenes in New York are such a mess that it took me a while to realize that they were even supposed to be flashbacks.  It is hard to keep track of how much time has passed from scene to scene and Alex Cord and Kirk Douglas are two of the most unlikely brothers imaginable.

The main problem with The Brotherhood is that it is impossible to watch it without thinking about The Godfather.  The Brotherhood has much in common with The Godfather but it has none of its authenticity and does not come close to matching its epic scale.  Kirk Douglas tries his best and puts a lot of effort into talking with his hands but he is miscast from the moment he first appears.  Robert Evans once said that he chose Coppola to direct The Godfather because he wanted to “smell the pasta.”  The Brotherhood was directed by Martin Ritt and you never smell the pasta.

The Brotherhood is an interesting footnote in the history of The Godfather but ultimately, it’s an offer you can refuse.

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Lisa Reviews An Oscar Nominee For Labor Day: Norma Rae (directed by Martin Ritt)


Earlier, in honor of Labor Day, I reviewed one of the most anti-labor union films ever made, the 1954 Oscar winner On The Waterfront.  In the interest of fairness, it only seems right to now take a look at one of the most pro-union films ever made, the 1979 best picture nominee Norma Rae.

Norma Rae takes place in one of those small Southern towns that is defined by just one industry.  In this case, almost everyone in town works for minimum wage at the local textile mill.  Conditions are terrible, with the employees working long and brutal shifts in a hot and poorly ventilated factory.  The overwhelming roar of the machines have left the majority of the workers deaf to reality, both figuratively and literally.  The mill is run by the usual collection of slow-talking, tie-wearing rednecks who always seem to show up in movies like this.

One day, a union organizer from New York shows up in town.  Brash and cocky, Ruben Warshowsky (Ron Leibman) is determined to unionize the mill but, at first, he struggles.  Nobody wants to risk their job by being seen with him and his Yankee manners rub many of the townspeople the wrong way.

Eventually, Ruben does find one ally.  Norma Rae (Sally Field) has worked at the mill her entire life.  She’s tough and determined but she’s also regularly shunned because of her past.  A widow who has three children (“She’s had a child out of wedlock!” a judgmental union organizer tells Ruben in a near panic), Norma channels her frustration into drinking too much and having an affair with a married (and abusive) salesman.

Two things happen that give Norma Rae a new purpose in life.  First off, she meets and marries the well-meaning but chauvinistic Sonny (Beau Bridges).  Secondly, she helps Ruben in his efforts to unionize the plant, even at the risk of going to jail and losing her job.   With the mill’s management spreading untrue rumors about Norma’s relationship with Ruben, her dedication to the union soon starts to threaten her marriage to Sonny.

I have to admit that I have mixed feelings about Norma Rae.  In many ways, Ruben is an annoying character.  He’s so brash and so smugly out-of-place that I actually found it difficult to consider any of the points that he was making.  I suppose that was partly intentional.  Ruben can’t accomplish anything until he gets Norma Rae on his side.  But, at the same time, there was something very condescending about Ruben as a character.  Much like the villainous rednecks in charge of the mill, Ruben felt like a stock character.  He was Super Yankee, bravely venturing below the Mason-Dixon Line to bring the truth to all of us stupid Southerners.  Whenever Ruben smirked and started to complain about how dumb everyone else was, I was reminded of why I never wanted much to do with the whole Occupy Movement.

As well, Norma Rae is one of those films that technically takes place in the South but it’s the South of the Northern imagination.  The accents were inconsistent and the dialogue often tried way too hard to sound “authentic.”  Ultimately, Norma Rae lacked the artistry necessary to disguise its more heavy-handed moments.

And yet, I still liked Norma Rae.  It had nothing to do with the film’s political message and everything to do with the character of Norma Rae.  Sally Field gives such a good performance as Norma, making her both strong and vulnerable.  The film’s best moments are the ones where Norma stands up for herself and does what she feels is right, despite the opposition from the mill’s management, Sonny, and her father (Pat Hingle).  Towards the end of the film, there’s a simply incredible scene where Norma finally tells her children about her past and, at that moment, Norma Rae reveals itself to be a great and heartfelt tribute to the strength and resilience of women everywhere.  At that moment, Norma’s strength reminded me of the greatest woman that I’ve ever known, my mom.  It made me appreciate the struggles that my mom went through as she raised four strong-willed daughters on her own, while working crappy jobs and dealing with a society that is always threatened by and cruelly judges a woman who refuses to settle.  Personally, I think Norma could have done better than Sonny and that Ruben should have been called out for constantly talking to down to her but what’s important, in the end, is that Norma never stopped standing up for what she believed.  By the end of the film, Norma is standing in for every woman who has ever been underestimated or judged or told that her opinions didn’t matter.  Norma is standing up for all of us.

Sally Field won an Oscar for her role in Norma Rae.  Off the top of my head, I have no idea who she defeated for the award.  (Yes, I know that I could just look it up on wikipedia but that’s not the point.)  But, regardless of her competition, it’s an honor that she definitely deserved.

Norma Rae

4 Shots From 4 Films: Salt of the Earth, The Molly Maguires, F.I.S.T., Made in Dagenham


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films.  As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

Since it’s Labor Day, this edition of 4 Shorts From 4 Films has a theme!  All four of these shots come from films about labor!

4 Shots From 4 Films

Salt of the Earth

Salt of the Earth (1954, directed by Herbert J. Biberman)

The Molly Maguires (1970, directed by Martin Ritt)

The Molly Maguires (1970, directed by Martin Ritt)

F.I.S.T. (1978, directed by Norman Jewison)

F.I.S.T. (1978, directed by Norman Jewison)

Made in Dagenham (2010, directed by Nigel Cole)

Made in Dagenham (2010, directed by Nigel Cole)