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Brother Orchid
Brother Orchid
Brother Orchid
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Brother Orchid
Theatrical release poster
Directed byLloyd Bacon
Written byEarl Baldwin
Uncredited:
Jerry Wald
Richard Macaulay
Based onBrother Orchid
1938 story
by Richard Connell
Produced byHal B. Wallis
Mark Hellinger
StarringEdward G. Robinson
Ann Sothern
Humphrey Bogart
CinematographyTony Gaudio
Edited byWilliam Holmes
Music byHeinz Roemheld
Production
company
Release dates
  • June 7, 1940 (1940-06-07) (New York City)
  • June 8, 1940 (1940-06-08) (U.S.)
Running time
87 minutes
CountryUnited States
LanguageEnglish

Brother Orchid is a 1940 American crime/comedy film directed by Lloyd Bacon and starring Edward G. Robinson, Ann Sothern and Humphrey Bogart, with featured performances by Donald Crisp, Ralph Bellamy and Allen Jenkins. The screenplay was written by Earl Baldwin, with uncredited contributions from Jerry Wald and Richard Macauley, based on a story by Richard Connell originally published in Collier's Magazine on May 21, 1938.[1] Prior to the creation of the movie version of Connell's story, a stage adaptation was written by playwright/novelist Leo Brady. The script was originally produced at Catholic University of America in Washington, D.C.

Plot

[edit]

Crime boss Little John Sarto retires suddenly, giving leadership of his gang to Jack Buck, while he leaves for a tour of Europe to acquire "class." However, Sarto is repeatedly swindled and finally loses all his money.

He decides to return home and take back his gang, as if nothing has changed after five years, but Buck has him thrown out of his office. The only ones who remain loyal to Sarto are his girlfriend Flo Addams and Willie "the Knife" Corson. Sarto raises a new gang and starts encroaching on Buck's territory.

When Flo tries to get Buck to reconcile with Sarto, Buck sees his chance. He agrees, getting Flo to lure Sarto to a tavern without telling him why. Flo is not totally fooled; she brings along a strong, good-natured admirer, mid-western rancher Clarence P. Fletcher, just in case, but he is knocked out by Buck's men. Sarto is taken for a ride, believing Flo has double-crossed him.

Sarto escapes, but is shot several times. He manages to make his way to the Floracian monastery, a group of charitable agriculturalists run by Brother Superior. Finding it a good place to hide out, Sarto signs up as a novice, naming himself "Brother Orchid." At first, he treats it as a joke, calling the monks the "biggest chumps in the world," but the kindness and simple life of the brothers begin to change his opinion.

Then Sarto sees a newspaper announcement that Flo is going to marry Clarence. He rides into the city with Brother Superior when he goes to sell the flowers that provide the monastery's meager income. After Flo gets over the shock of seeing Sarto alive, she proves she did not betray him and agrees to break up with Clarence.

Sarto breaks the news to Brother Superior that he is leaving, but then learns that the flowers have not been sold. The "protective association" run by Buck bans flower growers that do not pay for its services. Buck is hiding out from the police, but Sarto has a good idea where he is. Reinforced by Clarence and some of his friends from Montana, Sarto pays a visit to the association and a brawl breaks out. When the police arrive, Sarto presents them with Buck and his men. Then, he gives up Flo to Clarence and returns to the monastery, where he has finally found "real class."

Cast

[edit]
Cast notes
  • James Cagney was originally intended to play the lead role.[2]
  • Producer Hal Wallis wanted Lee Patrick to play the role of Flo, but producer Mark Hellinger appealed directly to Warner Bros. head of production Jack L. Warner to have Ann Sothern cast in the part.[3]
  • At the time that the film was made, Robinson was attempting to expand the kind of roles he played, having gotten bored with playing gangsters. He agreed to play the lead in Brother Orchid in return for being cast in the historical drama A Dispatch from Reuters.[4]
  • Brother Orchid is one of five films that Edward G. Robinson and Humphrey Bogart made together. The others were Bullets or Ballots (1936), Kid Galahad (1937), The Amazing Dr. Clitterhouse (1938), and Key Largo (1948).[3] Lauren Bacall observed that Robinson killed or otherwise subdued Bogart in every one of their films except for Key Largo, Bogart having by that time eclipsed Robinson as a star and leading man.

Award nominations

[edit]

American Film Institute

See also

[edit]

Notes

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Brother Orchid

View on Grokipedia
from Grokipedia
Brother Orchid is a 1940 American crime comedy film directed by Lloyd Bacon and starring as Little John Sarto, a mob boss who temporarily retires to , returns to reclaim his empire, but is betrayed and left for dead by his former lieutenant, leading him to seek sanctuary in a where he reinvents himself as a . The film is based on the short story "Brother Orchid" by , originally published in magazine on May 21, 1938. The screenplay was adapted by Earl Baldwin, with uncredited contributions from and Richard Macaulay. Key cast members include as the treacherous Jack Buck, as Flo Addams, Sarto's loyal girlfriend, and as the wise Brother Superior who aids his transformation. Supporting roles feature , , and , contributing to the film's blend of gangster drama and humorous redemption arc. Produced by Warner Bros., Brother Orchid was released on June 8, 1940, with a runtime of 88 minutes and filmed in black-and-white using the Mono (RCA Sound System) format. It explores themes of , , and amid the Great Depression's aftermath. Critically, the film holds an user rating of 7.0 out of 10 based on approximately 3,400 votes and an audience score of 64% on from more than 500 ratings (as of November 2025), praised for Robinson's charismatic performance and the lighthearted take on tropes.

Background and production

Source material

The short story "Brother Orchid" by was first published in magazine on May 21, 1938. This tale marked one of Connell's later works in a career spanning over three decades of short fiction. (1893–1949), born in , began his writing career as a for his father's before transitioning to short stories in the . He gained widespread acclaim for suspenseful and often satirical narratives, most notably "" (1924), a thriller about a hunter becoming the hunted that won the Memorial Prize and has been reprinted in countless anthologies. "Brother Orchid" fits into Connell's oeuvre of satirical tales, blending humor with on crime and morality. At its core, the story follows Sarto, who survives a by his , fakes his death, and hides in a rural under the alias Brother Orchid, where the quiet life of leads to his unexpected . This premise explores themes of redemption and the clash between underworld cynicism and monastic simplicity, with Connell's witty prose highlighting the gangster's gradual change. Collier's, a prominent American weekly known for serialized fiction and illustrations, had a circulation exceeding two million in the late 1930s. The story's appearance in its pages quickly caught the eye of Warner Bros., resulting in its into a screenplay by Earl Baldwin.

Development

Warner Bros. acquired the film rights to Richard Connell's short story "Brother Orchid," which was published in magazine on May 21, 1938, shortly following its publication. The studio moved quickly to adapt the material, recognizing its potential for a narrative combining elements of and redemption. The screenplay was penned by Earl Baldwin, with uncredited contributions from and Richard Macaulay, who transformed Connell's tale into a hybrid of gritty drama and lighthearted , emphasizing the ironic transformation of a mobster seeking refuge in a . Baldwin's script retained the story's core premise while amplifying humorous undertones to suit Warner Bros.' style of socially conscious entertainment. Executive producer oversaw the project, with serving as associate producer; Hellinger, drawing from his background as a New York who chronicled Broadway's underbelly and crime-laden in columns syndicated across 174 newspapers, contributed insights into authentic urban underworld dynamics. Lloyd Bacon was chosen as director, leveraging his extensive experience at with both comedic and gangster genres, including films like the crime comedy (1938) and the racketeering drama I Stole a Million (1939). Pre-production culminated in principal photography starting in early March 1940, aligning with ' efficient studio pipeline for mid-budget features.

Casting

James Cagney was originally slated to play the lead role. Edward G. Robinson was cast as Sarto, the film's protagonist, in a role that represented a deliberate pivot in his career from intense dramatic gangster portrayals, such as in Little Caesar (1931), toward comedic territory to evade . Robinson, under contract with Warner Bros., initially resisted the assignment, expressing frustration in a 1938 letter to studio executive about being pigeonholed in tough-guy parts, but ultimately accepted after negotiating the lead in the more serious (1941). His insistence on emphasizing the film's comedic tone helped shape the production, allowing him to infuse the character with wry humor while drawing on his established screen presence. Humphrey Bogart portrayed Jack Buck, a supporting role that aligned with his frequent casting as ruthless underlings during his early tenure, despite his emerging stardom. Bound by contract obligations that limited his leverage for better parts, Bogart appeared in this as one of five films co-starring with Robinson, including (1936), (1937), (1938), and later (1948). Ann Sothern was selected for the role of Florence Addams due to her proven comedic timing and charm, honed in musicals and comedies like Maisie (1939). Producer Mark Hellinger championed her casting, overruling executive Hal B. Wallis's preference for Lee Patrick, and praised Sothern's vocal delivery and ability to blend sophistication with lightheartedness. The supporting cast featured Donald Crisp as Brother Superior, providing gravitas to the monastic elements; Ralph Bellamy as Captain Thorne, leveraging his reliable everyman persona from films like The Awful Truth (1937); and Allen Jenkins as Willie the Weasel, contributing comic relief through his established comic sidekick roles in Warner Bros. pictures. Casting challenges stemmed primarily from the actors' contract-bound status at , with Robinson pushing for a lighter tone to diversify his image and Bogart fulfilling obligatory supporting duties amid his gradual ascent. Director Lloyd Bacon's oversight helped balance the ensemble dynamics.

Filming

for Brother Orchid took place primarily at the studios in , with the production relying entirely on soundstage sets and no major on-location shoots reported. Cinematographer Tony Gaudio captured the film in black-and-white 35mm, employing standard Warner Bros. lighting setups that balanced dramatic shadows with the brighter tones needed for its comedy-drama tone. Editing was handled by William Holmes, who assembled the footage into a final runtime of 91 minutes. The production schedule ran efficiently in early , wrapping up quickly under the studio system's rigorous timelines ahead of its June release. On set, the chemistry between and led to several improvised comedic moments that enhanced the film's humor.

Synopsis and cast

Plot

Sarto, a seasoned running a under the guise of a flower shop, grows disillusioned with his criminal life after witnessing his second-in-command, , kill a rival member. Seeking refinement and "class," Sarto retires, entrusts the gang to Buck, bids farewell to his girlfriend Flo Addams, and departs for with his ill-gotten fortune. There, he squanders his money on fraudulent antiques, , and lavish pursuits, returning to New York penniless after five years. Upon his return, Sarto demands his share of the profits, but Buck, now firmly in control, refuses and orders a hit on his former boss. Flo, who has moved on and is engaged to the honest businessman Clarence Fletcher, unwittingly arranges a "peace meeting" that turns into an in the woods, where Sarto is shot and left for dead. Wounded but alive, Sarto stumbles to a nearby run by who sell flowers for charity; they take him in, nurse him back to health, and induct him as a named Brother Orchid. In the monastery's serene environment, Sarto undergoes a profound transformation during his second act of seclusion, embracing the monks' simple routines of prayer, gardening, and manual labor. He excels at tasks like tending beds and boosting a cow's production from 12 to 16 quarts daily, earning the admiration of Brother Superior while grappling with the contrast to his violent past. A romantic tension arises when Flo visits, revealing her lingering feelings, but Sarto remains committed to his new path amid the monks' flower-selling efforts in the city. However, Buck's gang begins extorting the monastery's flower vendors, threatening their livelihood and drawing Sarto back to the world. In the film's third act, Sarto returns to confront Buck non-violently, interrupting to Clarence and allying with his old and new associates to expose Buck's operations at a climactic flower show exhibition. Using clever tactics, including connections, Sarto orchestrates Buck's without resorting to gunfire, dismantling the racket and protecting the monks' trade. Realizing that true "class" lies in the and peace of monastic life, Sarto bids farewell to Flo, who marries Clarence, and rejoins the brothers permanently as Brother Orchid. The narrative unfolds in three acts—departure into , transformation through spiritual retreat, and redemptive return—blending from Sarto's fish-out-of-water experiences with moral themes of redemption and a of the emptiness in gangster brutality.

Cast

The principal cast of Brother Orchid features as the lead gangster John "Little John" Sarto, who adopts the monastic alias Brother Orchid after a near-fatal betrayal and subsequent spiritual awakening. portrays Jack Buck, Sarto's ambitious and treacherous second-in-command who seizes control of the criminal operations. plays Florence "Flo" Addams, Sarto's loyal but comically naive girlfriend who remains devoted amid the chaos. Supporting the leads are Donald Crisp as the compassionate Brother Superior, the monastery's wise leader who guides Sarto's transformation; Ralph Bellamy as Clarence P. Fletcher, a wealthy rancher and Flo's prospective business partner; and Allen Jenkins as Willie "The Knife" Corson, one of Sarto's bumbling but faithful henchmen.
ActorRoleCharacterization
Edward G. RobinsonLittle John T. "Johnny" Sarto / Brother OrchidReformed gangster seeking redemption through monastic life.
Humphrey BogartJack BuckRuthless rival who betrays and supplants his boss.
Ann SothernFlorence "Flo" AddamsDim-witted but endearing moll loyal to Sarto.
Donald CrispBrother SuperiorKindly head monk influencing Sarto's moral growth.
Ralph BellamyClarence P. FletcherAffluent suitor and partner to Flo, entangled in the gang's schemes.
Allen JenkinsWillie "The Knife" CorsonComic relief as Sarto's inept but devoted sidekick.
Cecil KellawayBrother GoodwinSupportive monk aiding Sarto's recovery and adjustment.
Morgan ConwayPhiladelphia PowellAmbitious gangster aligned with Buck's takeover.
Paul GuilfoyleRed MartinTough enforcer in Buck's criminal syndicate.
Additional supporting roles include as Brother Wren, a fellow monk; Richard Lane as Mugsy O'Day, another gang member; and as Mr. Pigeon, a minor gang member. The film also features numerous uncredited appearances by actors portraying minor gangsters, such as Jimmy Aye and Richard Wessel, and additional monks like and , enhancing the ensemble's depiction of underworld and religious worlds.

Release and reception

Theatrical release

Brother Orchid had its world premiere on June 7, 1940, in , followed by a wide release across the the next day on June 8, 1940. The film was distributed by , Inc., which handled its nationwide rollout through its established theater network. The theatrical presentation featured a running time of 88 minutes, an of 1.37:1, and mono recorded using the RCA Sound System. These specifications aligned with standard Hollywood practices for black-and-white features of the era, ensuring compatibility with theaters equipped for systems. Marketing efforts centered on promotional posters that prominently featured and , highlighting their on-screen pairing and the film's blend of comedy and gangster elements. Advertisements also included tie-ins to Richard Connell's original , published in magazine in 1938, to leverage the source material's prior popularity among readers. Internationally, the film's release was limited, with primary distribution in the United States and the during 1940 and 1941, including British quad posters tailored for local theaters.

Box office performance

Brother Orchid earned approximately $2.1 million in U.S. and Canadian rentals during its initial release. This performance placed it at the 66th highest-grossing film of 1940 among all releases. Its box office results were influenced by stiff competition from major 1940 releases such as Gone with the Wind, which continued to dominate theaters after its 1939 debut, alongside the film's appeal to urban audiences familiar with comedies. Released in summer 1940, it benefited from seasonal attendance but faced a crowded slate of studio output.

Critical response

Upon its release in June 1940, Brother Orchid received mixed reviews from critics, who appreciated its comedic elements but found the narrative predictable. of commended Edward G. Robinson's unaccustomed turn in a lighthearted role, highlighting the film's kind essence and the amusing conflict between tough and gentle monks, though he implied the plot followed familiar gangster tropes. The film holds an audience score of 64% on , based on over 500 ratings, reflecting a generally positive but not enthusiastic reception among viewers. On , it maintains a user rating of 7.0 out of 10 from approximately 3,400 votes, underscoring its enduring appeal as an entertaining B-movie entry in the genre. Critics praised the strong chemistry among the leads, particularly Robinson and , whose contrasting portrayals of a reforming mobster and a ruthless added spark to the proceedings. The film's satirical take on the genre, poking fun at through its absurd setting and redemption arc, was noted for its playful tone and witty dialogue. However, some reviewers criticized the predictable storyline and uneven blend of and , which occasionally undermined the emotional depth. In modern retrospective views, Brother Orchid is appreciated as a lighthearted precursor to later redemption-themed films, valued for its gentle exploration of personal transformation amid tropes.

Legacy

Awards and nominations

Brother Orchid received no nominations at the 13th , held in 1941 for films released in 1940, where the nominees were dominated by dramatic and romantic comedies such as The Philadelphia Story, which earned six nominations including Best Picture, reflecting the Academy's emphasis on more serious or prestige-oriented works over lighter crime comedies that year. The film was later recognized in the American Film Institute's 2000 list AFI's 100 Years...100 Laughs, where it was one of 500 movies nominated as among the funniest American films, highlighting its comedic elements in the gangster genre, though it did not make the final top 100. It was also nominated in the American Film Institute's 2008 AFI's 10 Top 10 list in the Gangster film genre. Beyond this, Brother Orchid has garnered no significant formal awards or nominations, with its legacy more often noted in retrospectives on classic films rather than dedicated honors.

Cultural impact

Brother Orchid exemplifies the post-Hays Code era of comedies, where moral redemption became a staple to align with Production Code requirements for uplifting resolutions. The film parodies the cycle by placing a racketeer in a , blending crime drama with elements to satirize the genre's conventions. This approach influenced subsequent lighthearted takes on criminal reform, contributing to the evolution of crime comedies into vehicles for on vice and virtue. The film highlighted Edward G. Robinson's versatility, moving him beyond his iconic tough-guy personas in roles like Little Caesar (1931) to showcase comedic and redemptive depth. Robinson's portrayal of a finding peace as a demonstrated his range across drama, comedy, and character studies throughout his five-decade career. For , it represented an early supporting role as a menacing antagonist, reinforcing his in brutish parts before his breakthrough as a leading man in High Sierra (1941) and The Maltese Falcon (1941). Thematically, Brother Orchid explores redemption through a setting, where the protagonist undergoes a genuine conversion from criminality to spiritual fulfillment. This motif resonates in Catholic , positioning the film as a seriocomic example of moral transformation and faith's role in personal reform. It appears in lists of pro-Catholic cinema for its portrayal of monastic life leading to ethical renewal. Among noir and gangster film enthusiasts, Brother Orchid holds minor cult status for its offbeat humor and star power, occasionally referenced in discussions of pre-war crime comedies. The gangster-monk trope has been lightly parodied in later media, echoing its blend of crime and comedy.

Home media and preservation

Brother Orchid was first released on home video in 2008 as part of the Warner Gangsters Collection Volume 3, a six-disc DVD set distributed by Warner Home Video that included the film alongside other classic gangster movies from the studio's library. This edition featured the film in its original black-and-white aspect ratio of 1.37:1, with English audio and optional English, French, and Spanish subtitles, running approximately 91 minutes. In 2017, Warner Archive released a manufactured-on-demand (MOD) DVD-R edition, available through Warner Bros. Home Entertainment, which provided a standalone version of the film in full frame format with similar audio and subtitle options. As of 2025, no official Blu-ray Disc release has been issued in the by Warner Bros., though a region-free Blu-ray version was made available in in 2023 under the title Hermano orquídea. The film remains accessible digitally through various streaming platforms, including rentals and purchases on , Apple TV (iTunes), and at Home, where it is offered in standard definition. It frequently airs on (TCM), which has remastered the print for broadcast to enhance visual clarity while preserving the original aesthetic, though no major 4K UHD restoration efforts have been undertaken. The film is preserved in the corporate archives, ensuring long-term access to original nitrate and safety film elements, and is not in the due to active renewal by the studio. Copies are also held by major institutions such as the Library of Congress's Moving Image Research Center, facilitating scholarly access and potential future restorations. Internationally, the DVD releases are playable on region-free players, broadening availability beyond .

References

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