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.

You cannot truly enjoy Francis Ford Coppola's "The Godfather" with Marlon Brando and Al Pacino unless you've seen Martin Ritt's "The Brotherhood" with Kirk Douglas and Alex Cord. Ritt's saga about La Cosa Nostra lacks the scope and spectacle of "The Godfather," but it touches all the traditional bases for an Italian crime thriller. Kirk Douglas is an old-fashioned Mafioso named Frank Ginetta and he refuses to change with the times. Alex Cord plays Kirk's brother Vince who has survived a tour of Vietnam with the U.S. Army. Unlike Al Pacino ex-G.I., Vince knows he must get into the family business. He explains that he is too old and it's been too long since his college days. He wants into the business and Frank couldn't be happier. Initially, all Vince does is review business deals. Eventually, Frank finds out that the board that he is a part of plans to expand. Frank worries about this change. He worries about the repercussions of the deal and he fears the government. Frank is traditional and likes to hang out with the old mafia types. These types were the company that his father kept. Frank discovers that one of the board member is a canary. Earlier, in the first display of violence, Frank ordered the murder of a canary. Moreover, Frank learns that this canary was responsible for the death of his dad. Later, Vince questions Frank's decision about these new interests. As it turns out, Vince's father-in-law is a member of the board on which Frank serves with other business-minded people. When the feces hits the fan, everybody is into conflict, and blood isn't thicker than business.Despite several similarities, "The Brotherhood" differs. Whereas Brando refused to traffic in narcotics, Douglas doesn't want anything to do with electronics. Whereas Pacino didn't want to be in the business, Cord asks to be in the business. "The Godfather" cannot match the climax when brother turns on brother. Nevertheless, "The Godfather" boasts more violence and characters in a narrative that occurs over decades. "The Brotherhood" is really the last reel in "The Godfather." Vince commits an unpardonable crime against the board and flees to the safety of Sicily. Frank knows it is only a matter of time before the board dispatches somebody to ice him. When his brother Vince shows up in the old country to visit Frank, Frank welcomes him with open arms and assure everybody, including his suspicious wife that Vince isn't going to kill him. Kirk Douglas makes a convincing mafia don, and Alex Cord looks like he could be Douglas' kin. Director Martin Ritt takes the subject matter of Louis John Carlino's screenplay with sobriety. The body count of "The Brotherhood" amounts to three. The canary dies in an isolated field. Later, Douglas kills more out of revenge. Finally, his younger brother Vincent carries out an underworld rite of passage. Basically, "The Brotherhood" doesn't wallow in one bloodbath after another. Ritt puts his first-rate through the paces in 94 minutes without let-up, but half of the time nothing exciting happens. The dialogue is largely forgettable, but the situations are genre conventions. Unfortunately, too much talking takes place when more shooting should have rung out. Ritt treats the subject matter as if he were making a crime version of "Death of a Salesman." Lalo Schifrin contributes a fine orchestral score. Part of the action is told in flashback. "The Brotherhood" is a dignified crime drama without a surfeit of violence.

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.