THE BROTHERS RICO (1957)

This well-acted American crime film noir was directed by Phil Karlson, who stepped away from another John Payne project to helm this fine one. The ninety-two-minute film was produced by William Goetz and distributed by Columbia Pictures. It is all accompanied by a solid, if not unique music score by George Duning. Cinematographer, Burnett Guffey, creates some dramatic visual effects. Karlson's trademark realism of location shooting places the viewer in the action. For the transportation historian, it is an eyeful.

Richard Conte plays the eldest of two younger brothers, Paul Picerni and James Darren, the latter two possessing a slight family resemblance. Without flaw, Conte excels again in a role in which he is well acquainted as a guy caught in the middle of a serious life dilemma. In the old days, he was an accountant for the syndicate but has used his financial expertise to become owner of a legit and prosperous laundry company. No one launders money there. Picerni's monetary greed will have him outfitted with the latest in concrete footwear by the mob if caught. He confesses to a shocked Conte his responsibility for a recent hit. Baby brother Darren was the driver. Added in the turmoil is Conte's wife, played by Dianne Foster. Their opening scenes can be an uncomfortable ten minutes. The viewer may feel they are watching through a hidden camera. In a later scene together, she is unreasonably irate because Conte suddenly must catch a flight to Miami for a face-to-face with the syndicate boss, Larry Gates. The couple was supposed to sign adoption papers, instead.

Gates has been somewhat of an uncle to Conte. The cordial Gates hides his ability to turn up the heat if double-crossed. This becomes painfully obvious to Picerni in the adjoining room. Hitman, William Phipps, is giving him a serious “Martinizing.” Gates highly suggests Conte find his missing little brother as the bulk of the film takes flight to New York, Phoenix, and El Camino, California. Everywhere he goes, guys in fedoras are there before his arrival. Darren and his expectant wife, Katherine Grant, are not universally thrilled with Conte's surprise appearance. Darren does a good job. His final scenes are first-rate as it quickly becomes apparent Conte was not actually the first to discover his whereabouts.

Conte is alone in thinking “Uncle Larry” is sincere. Even “Mama Rico” no longer trusts him. Ending up back in Miami, the lone Rico has learned the truth about Gates and their final confrontation is an exciting—a life-altering experience for the latter. Conte testifies against the syndicate, successfully shutting it down in one of the most rapid film closings of the decade. A letter from the DA vouches for him, assuring the Ricos a successful adoption from the Bayshore Children's Home. Conte will have more dirty laundry to clean.

Notes: In addition to William Phipps, there are other genuine performances by the “theatrical mob members” Harry Bellaver, local crime boss, and Rudy Bond as Bellaver's “secretary” henchman. Cast as another underworld informant is Richard Bakalyan, with two brief appearances. Both Dianne Foster and Katherine Grant have little to do in the film, yet both are second and third billed respectively. An “Italian moment” between Conte, his mother, and his grandmother is loaded with authenticity.