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The Don Is Dead (1973)

 -  Action | Crime | Drama  -  14 November 1973 (USA)
6.3
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Ratings: 6.3/10 from 582 users  
Reviews: 12 user | 4 critic

After his mistress is savagely beaten up a Mafia leader goes after the killer with a bloody vengeance. Soon after the hunt begins, a gang war ensues.

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(novel), (adaptation), 2 more credits »
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Title: The Don Is Dead (1973)

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Cast

Cast overview, first billed only:
...
Don Angelo DiMorra
...
Tony Fargo
...
Frank Regalbuto
...
Vince Fargo
Angel Tompkins ...
Ruby Dunne
Charles Cioffi ...
Luigi Orlando
Jo Anne Meredith ...
Marie
Barry Russo ...
Don Aggimio Bernardo (as J. Duke Russo)
...
Mitch DiMorra
Anthony Charnota ...
Johnny Tresca
Ina Balin ...
Nella
...
Joe Lucci
...
Giunta (as Frank de Kova)
...
Don Talusso
...
Augie the Horse
Edit

Storyline

After his mistress is savagely beaten up a Mafia leader goes after the killer with a bloody vengeance. Soon after the hunt begins, a gang war ensues.

Plot Summary | Add Synopsis

Taglines:

Power built an empire. Passion destroyed it.


Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

14 November 1973 (USA)  »

Also Known As:

Beautiful But Deadly  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Sound Mix:

(Westrex Recording System)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
Edit

Did You Know?

Trivia

Some movie posters for the film featured a preamble that said: "In the Fall of 1971, Don Angelo DiMorra began an innocent affair with a beautiful woman. It started the bloodiest carnival of murder in the history of American crime". See more »


Soundtracks

The Eyes of Love
Written by Quincy Jones
See more »

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User Reviews

 
Makes a cruel mockery of The Godfather's pretensions.
30 January 2006 | by (London, United Kingdom) – See all my reviews

"The Don Is Dead" is clearly an attempt to cash in on the success of "The Godfather" which was made the previous year. Very few people regard "The Don Is Dead" as a great movie, but many admire "The Godfather" enormously. (There are also many who do not, particularly fans of gangster films in general. Their attitude was brilliantly summarised by Ian Cameron in his book "The Gangster Film" where he described "The Godfather" as "built to be the "Gone With The Wind" of the crime genre, which is to say a crime movie for people who despise crime movies but are impressed by gigantic, best selling novels, a movie for people who do not even much like movies.")

"The Don Is Dead" borrows from "The Godfather" the central theme of a younger, less forceful, less impressive brother maturing during a crisis and developing both leadership qualities and murderous ruthlessness. It also borrows the carefully explained structure of the crime family with its leader (the Don) and its adviser. Fortunately, "The Don Is Dead" takes nothing else from "The Godfather". It does not aspire to be a "Gone With The Wind" of gangster movies. It is content to be an enjoyable, fast-moving well-made crime film. "The Don Is Dead" was made by a team of top Hollywood professionals, and their expertise is evident throughout.

In a city dominated by three crime families, the adviser of one hatches a scheme to grab control of the city by setting the other crime families against each other. For a time his plan works well, and gang warfare breaks out. One of the family heads is dependant on two brothers who kill for him. The younger of these brothers is reluctant to participate but is more intelligent than both his brother and his friend, the crime Don. Gradually, as the violence accelerates, the younger brother assumes command.

The pacing of "The Don Is Dead" is excellent. Each scene is tightly cut but nothing is rushed. Whether an action scene or a whispered conversation, everything is given as much time as necessary but nothing more. The shootings and bombings - of which there are many - are done properly: in other words quickly but credibly. Neither John Woo-style ludicrously fast cutting nor Sam Packinpah-type slow motion diminish "The Don Is Dead".

With one exception, the acting is good throughout. It was enjoyable to see Anthony Quinn in a modern role and wearing smart city clothes. Quinn, of course, has enormous power on screen, but so too have some of the actors in supporting roles. The exception is Frederic Forrest who has neither the acting skill nor the screen charisma adequately to flesh out the main role of the younger brother. He is further hampered by his whining voice. Throughout he gives the impression of being weak and petulant. A key scene is when he returns to his base which has been bombed in his absence and learns that his brother has been killed. His men are about to quit. After a moment or two of private grief, he shouts at his men that they will strike back, and restores their self-confidence and determination. Actors like Charlton Heston and George C. Scott could have worked miracles with that material, but Frederic Forrest just stands there and whines. It is difficult to imagine any hardened criminal regarding him as a leader.

The cinematography is excellent, and Richard H. Kline deserves congratulation for creating in a colour movie the chiaroscuros traditionally found in black and white crime films of the 1940s. Jerry Goldsmith provides an atmospheric, low-key score which consistently increases the tension. During his career Richard Fleischer never received due credit for being a brilliant director, probably for the same reason that Michael Curtiz, John Huston and Robert Wise did not: he was versatile and made a wide variety of movies instead of working with the same subject matter again and again. In his staging and pacing of scenes, his handling of the actors - with that one exception - his placement of the camera and in the high quality work he elicited from his crew, Fleischer demonstrates in "The Don Is Dead" that he was a master film director.

"The Don Is Dead" is probably not a film for every-one, but any-one who likes a good gangster movie should make a point of seeing it.


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