BLOODBROTHERS (1978)

Title: BLOODBROTHERS

Year of Release: 1978

Director: Robert Mulligan

Genre: Drama

Synopsis: A young man from an Italian-American family yearns to make his own mark on the world, but his biggest stumbling block may be his own father's expectations to follow him in the construction industry.

Within a film history context: Movies about Italian-American protagonists can be found from the silent era. One of the first was Reginald Barker's THE ITALIAN (1915). The life of an Italian man who comes to the United States for a better life, marrying the woman of his dreams, and the difficulties they encounter, were charted in this realistic production. With THE SLEEPING LION (1919), directed by Rupert Julian, an Italian-American man leaves New York City with his adopted son for the West, but romantic troubles plague him. George L. Cox's THE TIGER LILY (1919), differed from the previous two films as the main character was a woman.  In New York City, a charming young Italian-American working at her uncle's inn causes hearts to flutter, and becomes involved in many romantic scenarios in the process. Into the sound era came THE GUILTY GENERATION (1931), directed by Rowland Lee. The love affair of two young Italian-Americans whose gangster fathers were at war in New York City had a touch of romance along with crime. On the other hand, Howard Hawks' SCARFACE (1932) revolved around the rise, and precipitous fall of an Italian-American gangster, played by Paul Muni. One of the most famous of the early crime-themed movies, it was influential and remade in 1983, this time starring Al Pacino in the lead role. 

HUDDLE (1932), directed by Sam Wood, was entirely different in scope. The life of a young Italian-American man working in a steel mill, later attending Yale on a scholarship, and falling for a young woman, was slanted toward romance, something the other movies barely touched upon. James Cruze's RACETRACK (1933) followed a bookmaker, played by Leo Carrillo, who takes on the responsibility of raising a homeless young boy, but complications ensue when the boy's mother comes back into the picture. Another Leo Carrillo vehicle, THE WINNING TICKET (1935), directed by Charles Reisner, had the star as a barber who buys a lottery ticket, but hides it as his wife disapproves of gambling, with the ticket winning a major prize. The kicker is that the barber cannot find where he placed the ticket, but his baby son has more to do with this than he realizes. Edwin L. Marin's MAN OF THE PEOPLE (1937), had an attorney as its main character dealing with the Mafia in his profession. More earthy was FISHERMAN'S WHARF (1939), directed by Bernard Vorhaus. A fisherman, played by Leo Carrillo, and his young son live happily together, but things change when the fisherman's sister-in-law moves in with them, her young son in tow. Into the 1940s and 1950s, many varied depictions of Italian-Americans made their way to cinema screens.

Garson Kanin's THEY KNEW WHAT THEY WANTED (1940) had a wealthy farmer involved in a complex web of events, hoping to attract a young waitress by using the photo of another man as himself. CRY OF THE CITY (1948), directed by Robert Siodmak, was much darker in execution. An Italian-American police lieutenant is dogged by a fellow Italian-American criminal who causes him no end of grief. Criminality was also examined in Nicholas Ray's KNOCK ON ANY DOOR (1949). A young Italian-American man accused of murder is defended by an attorney, appealing to the court in light of his turbulent life, but this makes no difference in the eyes of the law. HOUSE OF STRANGERS (1949), directed by Joseph Mankiewicz, concentrated upon the family dynamics in an Italian-American family. It focused on the relationship between a father and his sons, specifically their reaction to their father being apprehended for dubious financial activities. Richard Thorpe's BLACK HAND (1950) was about an Italian-American man whose father was killed by the Black Hand extortion racket, and how he attempts to avenge his death, and bring the racket to justice. MARTY (1955), directed by Delbert Mann, was entirely contrary to this. The pathos-filled love story of a butcher and a teacher was a popular success in its time, earning star Ernest Borgnine an Oscar for best actor but also, winning for best picture and director. Daniel Mann's THE ROSE TATTOO (1955), as with THE TIGER LILY, was notable in that it sported a female Italian-American protagonist. The tale of a New Orleans seamstress and her messy family, and interpersonal relationships was another winner not only at the box office but also, for actress Anna Magnani in the lead. 

SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was a showcase for Paul Newman as real-life boxer Rocky Graziano, charting his life, and the many events he experienced. Richard Quine's FULL OF LIFE (1956) was in a much more comedic vein than the other movies with Italian-American characters. A couple expecting a child run into difficulties with a home repair, and reluctantly ask his father, a stonemason, to carry out the work, despite their tenuous father-son relationship. It was back to drama territory with THE MIDNIGHT STORY (1957), directed by Joseph Pevney. When an Italian-American priest is murdered, a policeman investigates this incident, and suspects a restauranteur of the crime. With Phil Karlson's THE BROTHERS RICO (1957), a trio of brothers is the focus, with one a former Mafia accountant who is drawn back to them on account of his two siblings. The fraught love affair of an Italian-American man and an Italian woman was the crux of WILD IS THE WIND (1957), directed by George Cukor. A widower travels to Italy to marry his late wife's sister, but his memories of the past cause many issues between them. Melville Shavelson's HOUSEBOAT (1958) was another movie with an Italian-American female protagonist. Sophia Loren spreads charm and joy to not only an American family living on a houseboat but also, the widowed father, played by Cary Grant. Entirely more sinister was AL CAPONE (1959), directed by Richard Wilson. Detailing the tumultuous life of the notorious Chicago criminal, it offered a meaty part to Rod Steiger in the lead. The 1960s, as with previous decades, also had differentiated views of Italian-American characters onscreen.

Richard Wilson's PAY OR DIE! (1960) was another crime-related film. The biographical account of New York City policeman Joseph Petrosino, and his efforts to stop organized crime in the early 1900s, it featured Ernest Borgnine in the main part. LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan, was about two Italian-Americans, one a department store assistant, the other a musician, documenting the ups and downs of their love affair. Gordon Douglas' TONY ROME (1967) had an Italian-American private investigator as its lead, enlisted by a millionaire to find his daughter's missing jewellery piece, and becoming enmeshed in intrigue. Full-blooded could be said to describe WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese. The character portrait of a young Italian-American man, and his issues of guilt and religion was a great showcase for not only the director but also, Harvey Keitel in the lead part. Into the 1970s, Cy Howard's LOVERS AND OTHER STRANGERS (1970) had an engaged couple as the main focus, with the groom Italian-American. The movie also includes the bridegroom's family as an essential part of the action, with humorous and touching results. One of the most famous ever of the films with Italian-American protagonists was THE GODFATHER (1972), directed by Francis Ford Coppola. The epic story of a Mafia family was awarded several Oscars, grossed a tremendous profit, and led to two sequels over the space of eighteen years. 

An uninhibited view of Italian-Americans was provided by Ralph Bakshi's HEAVY TRAFFIC (1973). The life of a young illustrator of both Italian, and Jewish parentage slayed many dragons in its wake, and was one of the most original films of the genre. MEAN STREETS (1973), directed by Martin Scorsese, once again had Harvey Keitel as an Italian-American, this time as a smooth thug who lies and cheats his way through life, falling into nothing but trouble along the way. Sidney Lumet's SERPICO (1973) was about a real-life New York police officer, and his attempts to block corruption in the police force, but finding his own colleagues turn against him. A more domestic take on Italian-American characters can be found in A WOMAN UNDER THE INFLUENCE (1974), directed by John Cassavetes. Examining a crumbling marriage, and the effect the wife's mental illness has on the union, it was a showcase for Gena Rowlands in the eponymous role. Real-life criminals were again on display in CRAZY JOE (1974), directed by Carlo Lizzani. New York arch-criminal Joe Gallo was spotlighted in this disappointing movie, with Peter Boyle convincing in the titular part. One of the most celebrated films with a central Italian-American character was John G. Avildsen's ROCKY (1976). The life of a boxer who rises to fame, it was a breakout movie for Sylvester Stallone, a massive box-office hit, and led to several sequels. SATURDAY NIGHT FEVER (1977), directed by John Badham, was another huge box office success. The story of a young man who finds his niche on the disco floor, despite the roughness of his personal life, made John Travolta a star, had a pulsating soundtrack, with a sequel in 1983. BLOODBROTHERS had many features in common with the films with Italian-American characters, but possessed many of its own individual traits.

BLOODBROTHERS was similar to those films which spotlighted Italian-Americans in difficult situations where the human spirit is challenged, such as THE ITALIAN, HUDDLE, and FISHERMAN'S WHARF. It also had the complex family interactions which characterized THE GUILTY GENERATION, HOUSE OF STRANGERS, THE ROSE TATTOO, and, to a lesser degree, LOVERS AND OTHER STRANGERS. BLOODBROTHERS clearly defines its characters, being who they are, what they want, and why they want it. The family in BLOODBROTHERS could be labelled as being dysfunctional to a large degree, but watching the action gradually unfold is one of the film's graces. In addition, the movie was also reminiscent of those pictures where a young Italian-American man wants to make it on his own, many times running up against opposition to his aspirations, such as in THE SLEEPING LION, HUDDLE, SOMEBODY UP THERE LIKES ME, WHO'S THAT KNOCKING AT MY DOOR, HEAVY TRAFFIC, and SATURDAY NIGHT FEVER. This is explored in one key manner in BLOODBROTHERS.

Stony's main opposition is his father, who wants him to be a construction worker, while Stony yearns to help children at the local hospital. In this way, BLOODBROTHERS' more benign central character conjured memories of the characters in the first two entries of the previous movies than the latter four. This is also where BLOODBROTHERS diverts away from the more heavy-going films. Stony in the picture is not only looking for romance but also, seeking to make his mark in the world as he wants, similar to HUDDLE's Tony in his persuasions. This is refreshing to witness as many of the films in the genre, while well-made, had a leaning toward Italian-Americans involved in crime, and dangerous situations. BLOODBROTHERS recognises that there are enough obstacles in life which can be examined in a film without the need for sometimes trumped up peril. This is also evident in the romance between Stony and Annette. There are no parents to keep them apart, or actions they have committed which could have a detrimental effect on them. Their own feelings, and view of the world are what both pulls them together, and drives them apart, which is interesting to watch. One of the most full-blooded of the movies about Italian-American characters, BLOODBROTHERS is a worthy entry in this film genre.

Overview: Robert Mulligan was the director of twenty motion pictures over thirty-three years, with many years spent in television. His movies are stories with a sympathetic edge, making audiences comprehend what makes characters tick in an intensive manner. After spending several years working in television, Mr Mulligan made his directorial debut with FEAR STRIKES OUT (1957). The story of real-life baseball player Jimmy Piersall, it was notable for starring Anthony Perkins in his third movie role. After a few more years in television, Mr Mulligan made THE RAT RACE (1960). It was a comedy-drama with Tony Curtis and Debbie Reynolds of a musician who arrives in New York, and falls for a dancer. TO KILL A MOCKINGBIRD (1962) was one of Robert Mulligan's most warmly-remembered movies. The story of a Southern lawyer defending a black man accused of rape, it boasted a fine performance by Gregory Peck as lawyer Atticus Finch. In a similar but more dramatic vein was one of his most famous pictures, LOVE WITH THE PROPER STRANGER (1963). Natalie Wood and Steve McQueen were, respectively, a department store assistant and a musician, with Miss Wood falling pregnant to Mr Queen's character. More great films followed in the years after for Mr Mulligan. BABY THE RAIN MUST FALL (1965) was a melodrama about a footloose man just out of jail, and trying to make it up to his wife and young daughter. Fine work from both Lee Remick, and Steve McQueen as the lead actors, it was a memorable and moody piece of cinema, shot in stark black and white. 

Continuing with realistic stories and situations, 1967 marked the release of UP THE DOWN STAIRCASE. Featuring Sandy Dennis as a school teacher in a New York high school, it was hailed for its lead performance and its authenticity. Four years after this film, one of Mr Mulligan's most commercially successful movies was released, SUMMER OF '42 (1971). The sensitive recollections of a young man who falls in love with a married woman in the early 1940s, it is remembered for its performances, and the evocation of a time and place which Mr Mulligan delicately conveyed on screen. Another distinctive film in his collection was SAME TIME, NEXT YEAR (1978). Taking CLOSE ENCOUNTER to a different level, it was about a married man and a married woman who embark on an affair, and meet at the same time every year when they first began their liaison. An affecting observation of feelings and middle-aged angst, it provided great roles for Alan Alda, and Ellen Burstyn as the couple in question. Into the 1980s and beyond, Robert Mulligan made CLARA'S HEART (1988). The story of the touching relationship between a Jamaican woman, and a young boy from a family for which she is a housekeeper was Mr Mulligan's second last film, and a return to form for him. His final feature, THE MAN IN THE MOON (1991), was the story of a young woman in 1950s Louisiana, especially detailing her antics and family life. Well-received critically, the movie, unfortunately, was not a money-maker. BLOODBROTHERS was Robert Mulligan's sixteenth motion picture, and one of his most fluent works.

It had that same sympathy for its characters and their lives which many of his movies shared, ranging from TO KILL A MOCKINGBIRD, BABY THE RAIN MUST FALL, UP THE DOWN STAIRCASE, and SUMMER OF '42, to name but a few examples. Robert Mulligan allowed audiences privileged views of people in situations that could indeed have existed in real-life, and BLOODBROTHERS is no exception. His films are rooted in a realism and thoughtfulness that is not only poignant, but endearing to observe. While it could be said that BLOODBROTHERS is one of Mr Mulligan's flashier works, spotlighting an Italian-American family, laying bare their foibles for all to see, it is in keeping with his oeuvre. Despite being one of his movies which was one of the noisiest in terms of the characters and their way of expressing themselves, BLOODBROTHERS does have an adjacent softness about it, making one in turn feel for the characters. The characters at times do go over the top in how they act and feel, but this unrestricted range of emotions shows them both at their best but also, their worst. This makes them relatable, and, in turn, sympathetic. One of Robert Mulligan's most entertaining films, BLOODBROTHERS is a pleasure to watch.

Acting: BLOODBROTHERS has an illustrious cast who are all utilized to maximum effect in the movie. In the lead role of Stony De Coco, Richard Gere is excellent as a young man seeking to find his way in life, but coming up against many roadblocks. An actor of charm and nervy energy, here he is refreshing to witness as a normal young man without being portrayed as a male hyper-sex symbol, something upon which his later films capitalized. In this film, it relies more upon the actor's natural charisma, and subtle mannerisms which the director has spotlighted exceptionally well. As Stony's father, Tommy De Coco, powerhouse Tony Lo Bianco brings notes of anger, humor, and pathos to a difficult part, making Tommy an entertaining, but multi-dimensional figure. Tommy's brother Chubby De Coco is vividly brought to life by Paul Sorvino. His unflappable character and common sense prevail in the movie, especially acting as the mediator in the many conflicts always unravelling in the Do Coco family, making Chubby a lively, stalwart figure. 

Michael Hershewe, as Albert, Stony's brother, and Tommy's son, is nicely played by the young actor. Without saying much, using his body language to express his discomfort at his family situation, Mr Hershewe does a fine job. The chemistry between Richard Gere and Michael Hershewe is most keenly felt in the film, their age difference giving things another level of depth, with Stony not only a brother but also, a father figure to Albert. As Maria, Tommy's wife, and Stony and Albert's mother, Lelia Goldoni is utterly authentic as the put-upon De Coco family matriarch whose rollercoaster of emotions is one of the movie's most compelling aspects. Rounding out the fine cast is Marilu Henner as Annette, Stony's on-again, off-again girlfriend. In her first major movie role, Miss Henner does very well as the no-nonsense, composed Annette whose pragmatic nature draws the sometimes hot-headed Stony closer, giving him balance.

Soundtrack: Elmer Bernstein's bold instrumental score deftly encompasses the heated emotions of the characters in BLOODBROTHERS, and their take no prisoners attitude toward life.

Mise-en-scene: There are a number of interesting contributions to what is presented on screen in BLOODBROTHERS. Cinematography by Robert Surtees is beautifully composed, ensuring that the color is naturalistic, but with subtly lively tones, reflecting the characters and the film's overall realistic feel. Female costuming by Joanne Haas, likewise male costuming by Robert Harris Jr. complement each other well, appropriate to the characters and their socio-economic position and mindset. Set design by Lee Poll is another of the film's distinctive traits. Locations such as the De Coco family home, Annette's apartment, and the bar which Tommy and Chubby frequent, are all notable for appearing authentic, as if people actually live and use these settings.

Notable Acting Performances: Richard Gere, Tony Lo Bianco, Paul Sorvino, Michael Hershewe, Lelia Goldoni, Marilu Henner.

Suitability for young viewers: No. Frequent coarse language, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

MADE FOR EACH OTHER (1971)

Title: MADE FOR EACH OTHER

Year of Release: 1971

Director: Robert B. Bean

Genre: Comedy, Drama, Romance

Synopsis: Two people meet at a group therapy session, and find love despite their personal, and cultural differences.

Within a film history context: Movies which focus upon an interfaith relationship were largely non-existent before MADE FOR EACH OTHER in 1971. They appeared on a slightly more regular basis after the film was released, with Sydney Pollack's THE WAY WE WERE (1973), the popular love story of a Jewish woman and a Christian man set in World War II United States, and EVERY TIME WE SAY GOODBYE (1986), directed by Moshe Mizrahi, about the love affair of a World War II Christian pilot, and a Jewish woman in Jerusalem, two notable movies in the genre. There were, though, several examples of interfaith relationship movies, beginning from the 1920s, which are of interest in cinema history. One of the first was Swedish film, THE AVENGER (1915), directed by Mauritz Stiller. In this picture, a young Christian man has a relationship with a Jewish woman, and leaves her pregnant, but does not want to marry her on account of their religious differences. 

A comic take on interfaith relationships was served up by James W. Horne's silent KOSHER KITTY KELLY (1926). Here, a number of misunderstandings set in motion prospective relationships between Jewish and non-Jewish characters, but status quo ensues, and first loves between characters of the same faith prevail. More progressive in matters of the heart was ABIE'S IRISH ROSE (1928), directed by Victor Fleming. Charting the relationship, and marriage, of an Irish-American Catholic woman and a Jewish-American man, with various consequences for both, it was based upon a popular stage play that also spawned a critically savaged 1946 film remake. Into the 1960s, Otto Preminger's EXODUS (1960) featured the romance of an American nurse with an Israeli soldier, in this story of simmering racial tensions in 1948 Middle East. MADE FOR EACH OTHER had more in common with the lighter-hearted films such as KOSHER KITTY KELLY and ABIE'S IRISH ROSE, but also, shared the pathos of THE WAY WE WERE.

MADE FOR EACH OTHER had the same type of love story/story structure with THE WAY WE WERE and ABIE'S IRISH ROSE. In the case of MADE FOR EACH OTHER Panda, a Jewish woman and Giggy, an Italian man, find their way toward each other throughout the course of the movie. It was reminiscent of THE WAY WE WERE with its lively, unconventional female lead, but Giggy in MADE FOR EACH OTHER is equally as quirky as Panda, both in terms of personality, and family background. Giggy, though, is the polar opposite of the more intellectual Hubbell from THE WAY WE WERE, this giving the film a point of difference in its lead male character. MADE FOR EACH OTHER also goes much further than the others in painting a portrait of two people not only hampered by the particular mindsets of their families but also, their own idiosyncrasies. This brings out the humor, and quieter scenes the movie exhibits. Apart from this, MADE FOR EACH OTHER, more so than the other films, is also an exploration of Jewishness, Italianness, family, religion, sex, psychology, and relationships, subjects the other films did not always touch upon. The tackling of these themes gave the film a more topical edge over the other movies, in that MADE FOR EACH OTHER provided exhaustive attention to these issues which, by and large, had not been addressed until that time. Other features of the movie are also deserving of discussion.

MADE FOR EACH OTHER traverses much more into psychological territory than its predecessors, ensuring that the audience knows exactly where Panda and Giggy are coming from. The viewer gets to know them as real people, rather than two-dimensional figures. This is something the other films only briefly examined, which makes MADE FOR EACH OTHER more in-depth in terms of the intimate dissemination of its characters' emotions. The delicate nature of the male-female pairing, with them loving, fighting, and reuniting, was also evident in THE WAY WE WERE with its own love duo. Where THE WAY WE WERE diverted from MADE FROM EACH OTHER is in the soothing, more romantic aura it exuded, in comparison to the broader, more rambunctious antics of the latter movie. MADE FOR EACH OTHER capitalizes on the ethnicity of its characters, and the raucous nature of the interaction of the families within the film, which provides quite a few amusing moments. An introspective take on interfaith relationships, MADE FOR EACH OTHER is an entertaining film which makes for good viewing.

Overview: Robert B. Bean was the director of a single film in his career, being MADE FOR EACH OTHER. This being the case, and with no other movies in his filmography with which to compare and contrast, this overview will focus specifically upon MADE FOR EACH OTHER. Mr Bean has crafted a movie that, on the surface, is well-made, and overall satisfactory. The scenes flow well, and are connected between one segment and the next with assurance. Robert Bean has constructed a film that gets into the heart and soul of its characters, and the viewer thereby a full understanding of what makes them tick at all times. The characters and their motives are never a mystery to the viewer, which gives the film a feeling of warmth and comfort. It is unalike other films of the 1970s which many times left character motives, and their psychology up to the viewer to interpret, brimming with gray areas. While this works on one level, it can also be seen to detract from the film's impact as a whole.

By being precise, and emotionally true to the story and its characters, MADE FOR EACH OTHER, in many instances, feels overloaded. Scenes are overlong at times, and the stretching out of these can sometimes make for frustrating viewing. Points could have been made in a more consice manner, for example, with less dialogue, and more non-verbal facial expressions. A case in point is the scene where Giggy introduces Panda to his family. It seems to go on forever, and what, at the outset, is a witty scene, becomes overwrought with shouting and wailing. This is a tendency the film possesses that can be grating for numerous reasons.

MADE FOR EACH OTHER attempts to produce a comic-tragic effect in its execution, but it falls flat on occasion. The insistence on sending up situations, and characters, makes their pain, and the effect of these, seem risible. This does not appear to have been the film's intention, but it effectively hurts the movie. If there were extra scenes of interpersonal interaction such as revelations delivered in a muted tone, these would not have been out of place. The sequence where Panda discovers her boyfriend in a threesome with two other women, and her reaction to this, was among the most honest, heartrending moments in the movie. Again, Panda's lack of response to Giggy's shouting at the end is another emotional piece de resistance for the film, making one wish for more of these sequences. Any which way, despite having quite a few shortcomings, MADE FOR EACH OTHER should be praised for attempting to make a movie about a interfaith relationships, albeit in its disparate, sometimes brassy fashion.

Acting: There are several performances in MADE FOR EACH OTHER which stand out. As Pandora, Renee Taylor shines as the sympathetic woman looking for love, but somehow missing the mark in many instances. A carefully shaded acting part that Miss Taylor delivers in a moving and understated manner, it is the best contribution in the film. Joseph Bologna, as Giggy, works well with Miss Taylor, his fieriness a dramatic foil to Renee Taylor's more meditative style. As Pandora's mother, Helen Verbit exuded sensibility and humor in equal manner, with a touch of class. The final acting of note was by Paul Sorvino as Giggy's father. Mr Sorvino lends his authority, and earthiness, to a small part that definitely would have benefitted from longer screen time, but he does very well despite this.

Soundtrack: The instrumental theme music by Trade Martin is soft and easy on the ears, sweeping in a beautiful way that complements the story. The main diegetic music is played during Panda's nightclub performances that work, especially during Pandora's imitation of Marlene Dietrich.

Mise-en-scene: The cinematography by William Storz gives MADE FOR EACH OTHER a mellow, polished feel, in keeping with the bittersweet nature of the material. Colour is neither too bright nor washed out, but just right. The homes of the characters reflect their respective personalities, the production design greatly emphasizing this. Special mention must be made of Pandora's funky apartment, with its assortment of knick knacks and items, making perfect sense in terms of her character, and zany life. There is quite a lot of outdoor location filming which gives the film a freshness and zing, particularly Pandora and Giggy's final scene at the New York waterfront, something that a studio setting could not quite duplicate for its authenticity.

Notable Acting Performances: Renee Taylor, Joseph Bologna, Helen Verbit, Paul Sorvino.

Suitability for young viewers: No. Adult themes.

Overall Grade: C

Link: IMDB Page