Brother Orchid (1940) User Reviews

A mobster hides out in an unlikely place

[blanche-2 · 7/10 · 17 December 2009]

Edward G. Robinson becomes "Brother Orchid" in this 1940 film directed by Lloyd Bacon and also starring Humphrey Bogart, Ann Sothern, Ralph Bellamy, and Allen Jenkins. Robinson plays a mobster, Johnny Sarto, who works protection. He quits the business, turning it over to his right hand man, Jack Buck (Bogart) and spends five years touring the world in search of class. He comes back home broke from bad investments (the Borgia's bed was made in Grand Rapids) and wants back in.

Jack Buck, however, doesn't want to give up his position. When Johnny's airhead girlfriend Flo (Sothern) speaks with Jack about reconciling with Johnny, she reminds him that Johnny witnessed Jack murder someone. Jack pretends to go along with the reconciliation, but in reality, he plans on killing Johnny. Johnny escapes the hit men and, believing Flo set him up, realizes he has no one to turn to. He passes out in front of a monastery and winds up donning the monastic robe and raising flowers.

Very funny and warm film with wonderful performances. Robinson always played comedy very seriously, making his sinister gangster seem even funnier here. Beautiful Ann Sothern is great as the ditsy girlfriend who loves Johnny but can't get a commitment out of him. Bogart is still portraying crooks at this point, and he does an excellent job as the dangerous Johnny Buck. Donald Woods and Cecil Kellaway are two of the monks Johnny encounters.

Director Bacon did a lot of gangster films at Warners, and he really knew how to pace them.

Very enjoyable.

Oddball half gangster half sentimental idealist, Robinson terrific, Bogart barely present

[secondtake · 7/10 · 17 August 2010]

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.

Flower Power...

[Xstal · 7/10 · 13 September 2023]

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.

A Versatile Robinson, An Irrelevant Bogart

[lawprof · 3 May 2002]

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.

It's Impossible For Edward G. Robinson to Make a Bad Gangster Movie

[utgard14 · 7/10 · 23 December 2013]

Gangster Little John Sarto (Edward G. Robinson) retires from the racket to "get some class." After that flops he tries to reclaim his old mob, which is now run by Jack Buck (Humphrey Bogart). After nearly being rubbed out and believing his girlfriend (Ann Sothern) set him up, Little John joins a monastery! Entertaining Warner Bros. gangster comedy is helped by fun dialogue and solid cast. Robinson, Bogart, and Sothern are all great. Support from the likes of Ralph Bellamy, Allen Jenkins, Cecil Kellaway, and Donald Crisp. Doesn't launch into the monastery part of the film until about halfway through. It's a fairly routine gangster story for the first half. Although with this cast, fairly routine is still pretty enjoyable to watch.

Brother Johnny Sarto

[jotix100 · 7/10 · 26 August 2004]

This is a delightful comedy with film noir overtones, directed with great assurance by Lloyd Bacon. Viewing it after 64 years since it's original release, it still brings great satisfaction to anyone who is looking for a movie without pretensions, but one with a powerful message about how we get sidetracked in the pursuit of accomplishment, acceptance and being decent to everyone we encounter.

The great Edward G. Robinson makes this picture come alive. He was an actor whose presence overshadowed everything else around him. His Johnny Sarto, a man who is into rackets, has had it and decides to go straight and to things that he considers will give him "class". Alas, he discovers in the process that what he takes for class and polish his nothing of what he thought it would be.

Johnny discovers, perhaps too late, that whatever he was aiming for doesn't give him any satisfaction. Being drawn into the monastery, for the wrong reasons, he learns from the monks a thing, or two, about humility, charity and fulfillment. It is at this point when Johnny realizes he has finally achieved the class he was looking for in the wrong places.

Excellent appearances in the film by Ann Sothern, Ralph Bellamy, Donald Crisp and Allen Jenkins make this gem of a movie worth watching. Humphrey Bogart plays a minor role.

A gangster who finds God.

[alexanderdavies-99382 · 7/10 · 28 August 2017]

"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.

"From now on, I'm going after the two things I've always wanted most, good taste and refinement."

[classicsoncall · 8/10 · 16 January 2005]

Defying classification, "Brother Orchid" contains elements of film noir, gangster movies, and comedy, and showcases Edward G. Robinson as a mobster who quits the rackets because his tastes have outgrown them. It's a premise that walks a tightrope throughout the picture, and has Little John Sarto (Robinson) alternately swaying between his gangster life and a dreamy vision that may or may not be fulfilled.

Although an entertaining enough film, I had difficulty in accepting Sarto's all or nothing approach to each of his mid stream course corrections. At the outset, when turning over the gang to his second in command Jack Buck (Humphrey Bogart), Sarto convincingly claims it's for good. But to leave his girlfriend Flo Addams (Ann Sothern) behind as he squanders his fortune in the capitals of Europe seems a bit overboard; for Flo to keep the romance alive even as she rises from hat check girl to owning the Crescent Club is even more of a stretch. Especially when a reasonably handsome and urbane suitor like Clarence Fletcher (Ralph Bellamy) comes along. Fletcher is charming without being pushy and seems more than a romantic match for Flo, considering her treatment by the almost repulsive behavior of Johnny.

What does bring life to the film is the snappy, staccato one liners delivered by Sarto, often so glib that this viewer caught the full nuance well into the next scene. Then you have the colorful names of Sarto's cohorts - Mugsy, Philadelphia, Crack and Willie the Knife. Willie in particular is well portrayed by essential character actor Allen Jenkins, one of the few mugs who stayed loyal to Little John, even as he faked his way into a mental asylum during Johnny's hiatus.

When it appears that Flo sets up Johnny to be ambushed by Jack Buck, Johnny makes his getaway to a reclusive Floracian Monastery, where the brothers of the order make their living growing and selling flowers to help beautify the world. Brother Superior is portrayed by affable Donald Crisp in a calm and self assured manner. Entranced by the serene way of life of the brothers, Johnny makes it his own, and takes for his name a personal preference - Brother Orchid. When the brothers' way of life is threatened by their inability to pay tribute to Buck's protective association, Little John is back to his gangster ways to set things right, but this time forming a gang of Clarence Fletcher's Western buddies who have hit town to attend Fletcher's marriage to Flo!

Robinson and Bogart made a total of five films together, with Robinson getting top billing in all but 1948's "Key Largo". The others include "Bullets or Ballots" (1936), "Kid Galahad" (1937), and "The Amazing Dr. Clitterhouse" (1938). "Brother Orchid" was the only film in which Ann Sothern appeared with either Bogey or Robinson. For fans of any of these stars, or of classic films of the 1930's and 40's, all of the films mentioned are recommended.

Oddball Movie, But Intriguing

[ccthemovieman-1 · 7/10 · 20 April 2006]

Here's an odd Edward G. Robinson picture. It has the unusual combination of crime, humor, drama and romance - a real mixed bag - and Robinson pretending he's a monk!

It's billed as a crime story but it's more of a comedy. There are lots of snappy lines and expressions of the day, most provided by Robinson, a hoodlum type who winds up in a "floral" monastery (the monks grew and sold flowers).

This has a good cast with Ann Southern, Humphrey Bogart, Ralph Bellamy, Donald Crisp and Allen Jenkins all contributing. Bellamy was so young I didn't recognize him, only through his distinctive voice.

The first time I watched this I thought it was pretty good. Perhaps it was just more of a curiosity piece, because I really got bored with it on the second look. When it came out on DVD, I gave it a third chance and really liked it. Go figure.

Suprisingly entertaining and thought-provoking

[nimstic · 8/10 · 5 June 2020]

Like many, I picked up Brother Orchid because it was a Bogie film. I have this plan to watch every Bogie movie out there, because I am a huge fan. This was one of his earliest works wherein he played negative characters. Looking charming and cool, Bogie leaves his mark as usual but it is EGR who steals the show here. What a fantastic actor. I loved how his character Little Johnny Sarto evolves through the film. One of the best character development arcs I have seen for comedy/crime genre at the time. He makes us laugh our guts out, then makes us think and empathize with Johnny. EGR is brilliant in every scene he's in. If you enjoy classic comedy/crime genre - you are sure to have a good time watching this one as I did. Watch out the background of the title "Brother Orchid", its an interesting premise. Excellent movie. 8/10.

Eddie and his "Pretensions"

[theowinthrop · 7/10 · 9 January 2009]

I agree with another writer on this thread that this should have been a better film - but it suffered from a poor script.

Until he became a major star (possibly Hollywood's biggest star) in the 1940s, Humphrey Bogart was doomed to rarely be more than a movie menace. Prior to HIGH SIERRA and THE MALTESE FALCON a role like his horse trainer in DARK VICTORY or his frightened stooge of a Klan group in BLACK LEGION were rarities. Most of his roles were villains. Against Cagney in THE ROARING TWENTIES and THE OKLAHOMA KID. Against Flynn and Randolph Scott in VIRGINIA CITY. And definitely against Eddie Robinson in KID GALAHAD, THE AMAZING DR. CLITTERHOUSE, and this film. As we will see, it is a little odd that he got cast as a thuggish villain so often (even with his harsh if handsome presence), particularly in a film like BROTHER ORCHID.

For Bogie happened not to be born in a city ghetto like Cagney, or raised in one like Robinson. He was born in an upper class background, the son of a society doctor. In fact, in his early stage training, he appeared in society comedies. Reputedly he was the first young actor to pop up in such a play through the garden doors into the crowded parlor, racket in hand, saying "Tennis, anyone?" Actually (and ironically, as he hated it) the film that closest mirrored his early years was SABRINA, which Bogie did not make until the 1950s.

On the other hand, his more successful fellow Warner Brothers actor, Eddie Robinson, relished a chance to alter his public image. Having achieved movie stardom as Rico in LITTLE CEASAR, Robinson constantly tried to get out of movie gangster-dome. Sometimes he succeeded (like his biography films such as A DISPATCH FROM REUTERS and DR. EHRLICH'S MAGIC BULLET) but more frequently the gangster film was altered - particularly the "comic ones". CLITTERHOUSE, for example, has a whimsical premise of a society doctor gathering material for his opus on the criminal mind by becoming one. Better examples are THE WHOLE TOWN IS TALKING, whereas a befuddled little clerk is constantly dragged into crime by his resemblance to a crime kingpin, or A SLIGHT CASE OF MURDER (wherein beer baron Remy Marko has a whole slew of problems to straighten out in one afternoon).

BROTHER ORCHID takes off on a different slant regarding Robinson. A Roumanian (and Jewish) immigrant, Emmanuel Rosenberg happened to be pretty well read and educated, and continued showing interests in books and art all through his life. He was far from the "Ricos" he played on screen. Put another way: when he played "Wolf Larson" in THE SEA WOLF, the character personifies "Social Darwinism". Robinson could have critiqued "Social Darwinism".

Naturally this culture business may have amused the Warners, and they had already lampooned it in an earlier Robinson film LITTLE GIANT, wherein (again looking for class) Robinson discovers that social position does not make a person nice or decent. There it was the family of Berton Churchill, all seeing him as a sucker to unload worthless stock on. In BROTHER ORCHID it is a gangster who finds that it is a whole change in his life's attitudes that is needed to gain real class.

Robinson does a "Johnny Torrio" Act. He leaves his enterprises in the hands of his able lieutenant Bogart, while he takes a long trip to try to acquire class. Instead he slowly gets ripped off by every con-man and salesman who sees him coming. Finally he returns from Europe, and decides to resume his old job. But Bogie is well planted in the seat of power (as Al Capone was when Torrio retired), and Robinson finds his girlfriend (Anne Southern) has married rancher Ralph Bellamy (sort of a flip side to Bellamy's Oklahoma lover in THE AWFUL TRUTH). Bogie, seeing Robinson is trying to force his way back, has the latter taken for a ride and shot. But he is dumped on the grounds of a monastery run by Donald Crisp. Robinson is nursed back to health, and slowly begins to appreciate the finer things of a quiet, spiritual life.

The problem of the script is that Robinson's second half should have emphasized his discovering spirituality. Actually the script began to do that at the best moment in the film, when Robinson is almost thrown out of the order due to violating a rule, and protests that it was just a momentary mistake on his part. Crisp decides to give him another chance. His growing abilities to work with flowers in the monastic garden (the title is his name due to his abilities with orchids) could have been used to expand on. Instead the film has to resume the gang warfare - the monastery's income is threatened by Bogie's mob, and Robinson (with Southern and Bellamy's help) beat Bogie's men. That's fine, but it threw aside the triumph of a real type of class that Robinson was finding. Possibly had the writers seen fit to have Bogart avoiding capture by the police because of Robinson and the monastery giving him a temporary sanctuary the story line could have been straightened out, with Bogart wondering in the end if he had really gotten the better of the deal. But unfortunately that was not done here.

It is a moderately entertaining film, but it might have been a more meaningful one.

Gangster gardener

[nickenchuggets · 9/10 · 22 April 2023]

How come whenever Edward G Robinson and Humphrey Bogart appear in a film, they're almost always rivals? A movie with either one of these legends would be usually be enough to make it revered for decades to come, but when they face off, you're guaranteed to be in for a classic. Brother Orchid's title may not make any sense at first, but Robinson's character undergoes a drastic transformation, both mentally and in terms of his appearance, that ultimately makes him realize what true elegance is. The movie starts with mob boss Little John Sarto (Robinson) announcing he is resigning as head of the outfit and replacing himself with Jack Buck (Humphrey Bogart). He's doing this because he wants to travel to Europe, thinking that the more time he spends there, the classier he'll become. Reality punches him in the face and John loses all his money at various gambling establishments in Monaco and France. Believe it or not, John has already been away for 5 whole years by the time he comes back to America. Buck and the others throw a "welcome back party" for their old boss, which quickly turns into Buck getting nasty and telling John he's not getting any sympathy because he just decided to abandon them. After John is thrown out, he meets with his girlfriend, Flo Addams (Ann Sothern), who is one of the only people still on his side, but she says she has met a rancher from Montana named Clarence (Ralph Bellamy) who offers to drive them somewhere. John accepts and attempts to start a new mob to challenge Buck's. While taking a break at a house, some of Buck's thugs pull up outside. Clarence tries to get them to leave, but they beat him up. Clarence still manages to subdue them, but this forces John to go on the move again. Shortly after, Flo takes it upon herself to visit Buck in John's former office. She tells him he and John shouldn't be fighting since they used to be partners, and wants him not to say anything about this secret meeting to John. Flo starts getting more romantically involved with Clarence, so she plays a trick on John. She calls him from the bar and pretends to be intoxicated, and wants him to drive her home. John falls for the trap and drives to the place, not noticing Buck waiting in a car outside. Buck confronts John and forces him into his car. At one point, John manages to run away, but is shot twice and falls next to a creek. Unable to find his body, the thugs assume he is dead. Barely alive, John manages to stumble to a monastery inhabited by monks who sell flowers for money. At first, John takes advantage of their kindness and thinks they are suckers, but then shows genuine interest in their order and wants to sign up. While living with them, John gains much respect from them for his hard work in the garden, but eventually comes across a newspaper with Flo's face on it. The paper says Flo, believing John is dead, has decided to marry Clarence. John is enraged. After living with the monks for many months, John is granted permission to take a truck into the city in order to deliver the flowers the monastery grows. John visits his old apartment and sees Flo in a wedding dress, and starts berating her for wanting to marry Clarence. Flo confesses she was an idiot to trust Buck that night he took John away, as she actually thought meeting with him would help John. John manages to convince Flo to call off the wedding, and she explains to Clarence that she was John's girl for years. He seems not that upset by this news, and John offers him (and his friends from montana) something exciting to do to make up for it. John tells the monastery he is quitting, but is surprised to learn not a single flower has been bought because Buck's mob doesn't allow growers not allied with him to sell things. John tracks Buck down, and Clarence's friends beat up everyone in his headquarters. John gives up Buck to the cops, tells Clarence he is free to marry Flo, and then finally arrives back at the monastery and rejoins. For John, helping other humans like they do is the epitome of class. This must be the best movie I've seen in a while. Any film that has Bogart and Robinson going head to head is sure to be a hit with me, but I'm surprised I never heard of this movie. As is often the case, I was kind of able to tell this would be worth my time, since there is a lot of confrontation and interesting moments basically right from the start. Once Robinson discovers the convent, the movie takes a much more different turn, but still manages to be great since you want to see Robinson get revenge on Buck. My only real complaint is that Bogart is absent for quite a large part of the film, starting around the time Robinson becomes a monk. While that's not what most people think of when they picture Robinson, he once again showed his amazing versatility when it came to playing varied characters.

Prett good stuff, but boy did it have an odd plot!

[planktonrules · 7/10 · 25 August 2006]

This is one of the weirder gangster films of its era, as the last half of the film goes in one of the oddest directions I have ever seen--and I've seen practically every film made by Edward G. Robinson and the rest of the "Warner regulars" who made these type of films.

The first half or so is pretty conventional, as Robinson is the head of a mob (no big surprise) and after he retires, he gets the itch to once again return to a life of crime. So far, so good. However, after the hoods he left him in control try to rub him out, he hides out in a monastery! And, he re-names himself "Brother Orchid" and sees these gentle souls as a bunch of chumps! Now that, and the particularly exciting finale all make this a definite departure from the norm. While not 100% successful (it did seem a bit preachy and very tough to believe), I admire the studio for at least trying to take a chance and create something unique. Plus, good acting, a light and fun mood and brisk direction by Lloyd Bacon make this a film well worth seeing.

Searching For Class

[bkoganbing · 4/10 · 8 January 2009]

Brother Orchid is one strange movie that could have been a lot better. I've a feeling some key scenes were left on the cutting room floor and the writers could not have made their minds up about Ann Sothern's character.

Pretty standard stuff for Warner Brothers at first. Edward G. Robinson is a gang leader who runs a protection racket, but he's getting bored with it and just up and quits and leaves the whole shebang to his number two guy Humphrey Bogart. He takes his bundle and tours the world in search of 'class'.

Robinson's his usual tough guy, but what a fathead as well. He should have insisted on Ann Sothern going with him, did he really think she wasn't going to stray, especially with rich western rancher Ralph Bellamy panting after her. And of course Humphrey Bogart was simply going to step aside and let him resume after he told everyone he was through. As Bugs Bunny would say, what a maroon.

So when Robinson puts together a new mob and starts warring on Bogart, he shouldn't have been surprised when Bogart takes him for that last ride. And when Sothern is the one who sets him up, what's there to say.

That's the first half, the second half deals with a group of monks who find a half dead Robinson who wandered to their door and they nurse him back to health. Naturally he's grateful to Donald Crisp and the rest of the brothers. And Robinson gets a way to show that gratitude in the end.

Someone really screwed up though with Ann Sothern's character. We're first made to think she's pulling the doublecross of all time. And then later we're supposed to think she was duped by Bogart as well. I'm still trying to figure it out. It was one incredibly bad piece of writing.

Robinson and Bogart are always great when they get together. This was the last of four films they did at Warner Brothers where Robinson was the good guy. When they did their last joint film, Key Largo they had changed places in the firmament of shimmering stars. Bogey of course was the good guy in that classic.

Brother Orchid is the weakest of the five films that Robinson and Bogart did together, but the fans of both men will probably like it.

A Walk on the Gentle Side

[arion1 · 14 April 2003]

Edward G. Robinson shines in this unusual picture about Johnny Sarto, a mob boss who's greatest desire is to live in "real class"--a goal shared by so many self-made men. After making his fortune in the rackets, he departs for Europe, to live high on the hog and enjoy the first-class life. But, at every turn, it eludes him.

Out of money, he returns to his native land, to find his #2 man (Humphrey Bogart) has usurped his position, and is willing to kill to keep it. Wounded and on the lam, he winds up at a monastery, where he is nursed back to health.

Amongst the servants of God, he is tutored in the gentle arts of sharing and self-sacrifice. In one touching moment, the brothers are elated that the sales of their flowers will earn them a little extra money to buy a watermelon for dessert. A moment later, when the same money is spent to buy shoes for a local child, Sarto asks about the expected watermelon. "Watermelon?" Brother Superior (Donald Crisp) says in shock, "I never developed a taste for it!" Sarto (Robinson) slowly smiles, "I get it...".

Lured back to his old life by a newspaper headline detailing his fiancee (Ann Sothern)'s betrothal to a Texas cowboy (Ralph Bellamy) Robinson sets matters straight, and shows much of the same self-sacrifice he has learned in his 'retirement'. In one touching scene, he gives all of his money to cleaning woman and walks away without a cent to his name.

It's easy--and incorrect--to see this as a 'gangster movie' when the real purpose is to show the value of good works. While set in a film-noir world, Brother Orchid is an enchanting lesson about how the simple things in life are the best. As Robinson remarks in the final scene, "I always thought class came with having the right clothes or the right car. But this--this is the REAL class!"

Worth a look

[chinaskee · 6/10 · 3 July 2001]

I'm a big fan of Bogart,but I have to admit this is not one of his shining moments.But fortunately,the audience is treated to some very funny performances by Edward G. Robinson,Ann Sothern,and Allen Jenkins(very often Bogart's side-kick,but not here),in particular Ann Sothern,who should have been a much bigger star than she was.The story basically dies once the brothers at the monastery rescue Robinson,but all in all,this movie has more style than most of the rot-gut being shown at your local multi-plex this week.Definitely worth a look.

Brother Movie Watchers

[Richie-67-485852 · 7/10 · 28 July 2017]

Enjoy this movie for two good reasons right off. Edward G. Robinson and Humphrey Bogart. Then, take in the movie as a time capsule enjoying the sights, sounds and slang's of that era. That's what I like about these older movies. You get to see how things were in that generation and in this case that's nearly 80 years ago. The plot is comedy mixed with gangsters and Hollywood never knows how that will be received until after the fact. In this case, the stars and supporting cast pull it through making it a recommendation not to be missed. There are a few scenes that do trigger the emotions and there is nothing you can do about them but to let them have their way. A good movie does this. I like to eat when I watch movies.I recommend a sandwich with a tasty drink followed by some sweet munch for this one...Enjoy Edward G's mannerisms, facial expressions and tones of voice for he had fun doing them. I had fun receiving them....

Eddie G Takes Down Bogie (Possible Spoiler)

[maibpenrai · 7/10 · 5 May 2009]

I admit that I am no expert but I do love old movies. Maybe it was the other things I had been watching recently but I really appreciated this movie. I certainly got a kick out of the fight between Robinson and Bogart.

The plot has been reasonably well explained here so I won't repeat it yet again. I will say in summary that it is the story of a good person in a bad business and his voyage of discovery of himself. It is not really a gangster movie, that is just the package it is contained in and really not the key to enjoying the movie. One of the things that struck me during the movie was how much it helped me to appreciate Edward G. Robinson as an actor.

In this movie he spouts about every cliché that was ever associated with his gangster roles. In fact if someone came up to you and wanted to know what all the fuss about Eddie G. was throwing this movie at them would give them a pretty solid understanding. Yet somehow he manages to communicate how much more depth and potential there is to the character as a person than what you see and hear. Given that he was a well educated guy in real life and the silliness of some of the things he has to say that is quite an accomplishment. His mannerisms and reactions are perfect and I found myself understanding the character better because of what he emoted than what he said.

Though most of the plot is formulaic there are a couple of fairly humorous scenes with lively dialog. In fact there are a few that if you don't listen closely you will miss the joke. Another positive is that the humor lends to the plot rather than distracting from it. Something recent comedy-drama films could stand to remember.

I will disagree with a couple of posters who said this movie was less than it could of been. I think that is pretty harsh and feel the exact opposite. Given the time, the quality of the script, etc. it is quite well done. People, myself included, always complain that 30's-40's morality plays are always very heavy handed and leave nothing to subtlety or the viewers imagination. Brother Orchid is one that, for me anyway, stayed with me and the message of the film is somewhat open to interpretation: For example: themes of being open to change, accepting where life takes you, you can't always get what you want, understanding yourself, etc. The other thing that someone stated was that Robinson's character was a moron for a)leaving Ann Southern behind, b) leaving the business to Bogie and expecting to get it back. I think they missed something, the character is a self-absorbed man searching and he just doesn't realize it. He leaves Ann Southern because though he cares for her that isn't the life for him. He can't commit. There are several oblique references to this through out the movie.

If you are thinking of watching this for Bogie, don't expect much as he is little used but if you are looking for an under appreciated classic I think this is indeed one. I watch five to six old movies a week and this one stood out above the rest. Everyone has their own opinion but for me this was well worth the time and effort. A cut above most films of the period.

Awesome

[jamesprichard-86652 · 10/10 · 16 May 2020]

Terrific in every way. Robinson, Southern , Bogart ,Jenkins , Crisp ,Bellamy ,and Paul Guilfoyle .all these actors are like friends , enormous favourites ,they can do no wrong. Old movies rock.

Saved by being different

[vincentlynch-moonoi · 7/10 · 14 September 2022]

I'm not a big fan of the old gangster films. Way too many of them, and way too alike. But once in a while there's a gem. And this is one. It's refreshing because it's different. What could be more different than the penultimate gangster-actor (Edward G. Robinson) joining a monastery? There is some humor here, but it's not a comedy by any means.

While Robinson's character may have been the bad guy at the beginning of the film, Humphrey Bogart takes over and becomes the really-bad-guy that nobody is rooting for. Robinson hides out in a monastery, learns some valuable lessons about character, but then returns to the rackets...or does he?

Robinson was just great here, as was his co-star, Ann Sothern. Sothern is seldom remembered these days, but she darned good in her prime...and beyond. Humphrey Bogart is very good here also, and this film. This was probably the last film Bogart made before hitting true stardom.

So, sit bank and enjoy a fascinatingly different kind of gangster film.

Religious confusion!

[brendangcarroll · 9/10 · 8 February 2014]

First, let me assure everyone - I love this movie. It's a slick, funny and beautifully paced and acted comedy-drama, with a matchless cast and one of Heinz Roenheld's most tuneful scores (Roemheld is woefully under- rated IMHO and unjustly forgotten).

However, there is one curious thing about this movie and (Spoiler Alert) it concerns the plot twist that finds the resolutely Jewish Edward G Robinson holed up in (of all places) a Monastery, and eventually eschewing a life of crime to join the Order! I note that no mention of Jesus Christ nor is any Christian imagery shown on set - unusual for a monastery, especially in a Hollywood movie.

Of course Edward G is such a great actor and Warner's stock company play so beautifully together, one hardly notices the inconsistency, but my oh my, it's a rum do!

Robinson was so versatile. The same year he made this, he also made Dr Ehrlich's Magic Bullet and The Sea Wolf (the latter is undoubtedly his finest role and performance - will it ever appear on DVD?). And here, in Brother Orchid, he shows that he's a master of comic timing. Check out his marvellous double- takes during the car ride with Ann Sothern and Ralph Bellamy. He was top of his game and was always underestimated by Hollywood. The DVD of this gem is a beauty - the print looks like it was never out of the vault, so clear and sharp. Don't believe other reviewers on here - this one is a Warner classic.

A good if not somewhat of an odd comedy

[Mike_Yike · 7/10 · 5 August 2019]

It looks like Edward G. Robinson is mocking his patented gangster character but actually that isn't quite what is going on. It is a movie where that character is put into a different situation where he is surrounded by ardent pacifists with no easy way out. The funniest scene might have been where the Robinson character and his longtime girl friend are in the back seat of a car in a "serious" discussion while the big ol' cowboy, played by Ralph Bellamy, is practicing his bird calls while driving, bird calls that seem to punctuate the conversation going on in the back seat.

The ending was unexpected and my guess is that there were several options considered and maybe even filmed before decided on the one seen in the movie. Anyway the film rates a 7 in my book; a good if not great movie with an actual morality message squeezed in.

Incorrect Information

[jebucur · 9/10 · 24 August 2006]

I do wish when individuals watch a movie that they get the person who says the lines correct. It is not Donald Crisp that makes the comments about the watermelon to Edward G. Robinson. Donald Crisp as Brother Superior is walking the young boy out of the room after giving him $2.00 for shoes. The other two monks make the comments to Robinson about not liking watermelon and then Robinson says "I get it." Now that that is out of the way, this is an excellent movie with a cast of characters that will later go on to become major stars i.e.-Humphrey Bogar and Ralph Bellamy. There are also plenty of strong character actors in this wonderful movie such as Allen Jenkins and Cecil Kellaway.

Likable gangster comedy-drama

[Billiam-4 · 7/10 · 6 May 2022]

Likable gangster comedy-drama surprises with an unusual, amusing premise and takes it to an uplifting ending; with a superb star cast of the time, but it's mainly the Robinson/Bogart confrontation that livens up the show.

Quite a Bit of Drama

[Uriah43 · 5/10 · 26 June 2013]

A major crime boss named "Little John Sarto" (Edward G. Robinson) wants to call it quits and decides to travel to Europe and have a good time. He leaves his girlfriend, "Flora Addams" (Ann Sothern) behind and lets "Jack Buck" (Humphrey Bogart) take control of the mob. He squanders all of his money and decides to return after 5 years abroad only to find that Jack has no intention of surrendering control back to him. At any rate, rather than divulge what happens next and risk spoiling the movie for those who haven't seen it I will just say that it's at this point that things begin to happen. To that end I thought Edward G. Robinson put on a good performance all around. Likewise, I thought Humphrey Bogart was excellent in the one-dimensional role as a crime boss. Additionally, Ann Sothern was definitely attractive and played her part in an adequate manner. Unfortunately, while there is some humor in this film there is also quite a bit of drama, to the point that it doesn't seem like the director or writers were sure of what they wanted to produce. Because of that, I have rated this movie as average even though it certainly had the talent to be much better. On a side note, I also believe that a modern remake should definitely be considered if for no other reason than to resolve any ambiguity about what kind of movie this film ought to be.