Honor Thy Father

Twenty years earlier, it could have been made by a Phil Karlson in his peak shape. But Paul Wendkos was a great TV director too, very professional and his work here is also excellent and, made for TV, this kind of story can't be worst than for the big screen, on the contrary. Cast, directing story telling, everything is sharp, accurate, in the Sidney Lumet's style. I thought of PRINCE OF THE CITY, for a story speaking, in the Lumet's movie, from the police force point of view. Mafia leaders stories have never been lousy when made for the small screen audiences, though I have no example of bad movies on such plots for the large screen. This one, directed by Paul Wendkos.

At last, the story about New York's underworld. The real-life drama of notorious Joseph "Joe Bananas" Bonanno and his heir apparent, son Salvatore (known as Bill).

This film suffers from a sloppy, shaking camera, which is probably present in the original aired version. It also happens to be blurry, making it hard to see faces. But that is probably from the transfer, and if an original negative exists, a decent DVD could be released.

The film does a very straightforward telling of the Bill Bonanno story, as it has been told by Gay Talese and by Bonanno himself. Exactly how true any of it is, well... that is a matter of opinion. The Bonanno family (both father and son) have spun a lot of baloney about their lives, and who knows how much is accurate. Amazingly, an objective biography has yet to be written.

On the cheapo TV movie front, there's 1973's Honor Thy Father, an episodic, dull, and tedious foray into trying to make gangsters look sympathetic.

There are lots of familiar faces in HTF--Joe Bologna, Brenda Vaccaro, and a slew of character actors who got typecast as Mafioso. The trouble with the movie is that it's so boring and slapdash that you'll find yourself hitting the display on the DVD player to check how much time you have left.

Just to make sure that you know that this is a realistic portrayal of organized crime families, there's even the joy of watching--and listening to--Richard Castellano hacking up a lung from smoking (Gee, even Made Men get cancer!)

I'm afraid that watching crap like this may be carcinogenic.

Although both Raf Vallone and Joseph Bologna register well as father&son Mafia duo of Joe and Bill Bonanno and the source of this film is Gay Talese's account of Bill Bonanno's life up to that point, it does not really tell the story certainly from the point of view of those trying to bring them down. Read the Wikipedia article on the Bonannos. There was a certain resentment of the son by some of the close associates of Joe Bonanno of the nepotism there. And Bill Bonanno was hardly the reluctant don himself.

Interesting this came out in 1973 between the release of both Godfather films. The 70s because of the great popularity of The Godfather in both book and film there was a glut of these on the market. It seemed for awhile back then that every other film was a gangster story.

I liked what Brenda Vaccaro did with her portrayal of Rosalie Profaci Bonanno, wife of Joseph Bologna. Back in the day this was considered the great Mafia marriage, in their world like Charles and Diana. But Diana had more free will than Rosalie did. As a dutiful Mafia wife who grew up in that world she certainly knew never to ask questions about her husband's business.

Also note Richard Castellano in a portrayal similar to what he did as Clemenza in The Godfather.

This is the Bonanno version of their internal wars within their crime family. But the Corleones prove more interesting.

I cannot recommend this movie highly enough. It is a powerful antidote against dramatized, romanticized gangster sagas like The Godfather or Goodfellas. Apparently based on actual facts, the movie is the story of a New York Mafia boss's son. He tries to help his father because he thinks it is his filial duty.

There is a gang war on. Gangsters go into hiding. They are constantly in limbo. The father is in hiding. The son goes into hiding, in a different place. He is accompanied by an old, seasoned hit man - a magnificent performance by Richard S. Castellano of Godfather fame. As the two men just sit and wait - but wait for what? - in a shabby downtown apartment, the hit man passes the time reading Sartre's Being and Nothingness!

There is a fine sense of the absurd throughout this movie. The son hasn't got a clue what he is supposed to do. He just stands around asking everybody: What is going on? He never finds out. (Probably a chicken stolen somewhere in Sicily a hundred years ago, he suggests). Joe Bologna gives a wonderful portrait of Salvatore Bonanno. He plays a basically good natured, normal guy who can't cope with the circumstances that direct his life. It is wonderful how Bologna always has this strained expression on his face as Salvatore Bonanno tries to listen well and to understand. He has a wife and kids, and he wants to procure a respectable family life for them. His wife is scared and angry; she does not want to put up with a bunch of snoring, farting mobsters in her living room night after night!

Joe Bologna is paired with legendary italian actor Raf Vallone who plays Joe Bonanno, the father. And they really are a minor dream team! There is a model case of two people who can not communicate, although they really love each other. This is best shown in the final parting scene, when the son has to go to jail. They don't know what so say, they just stand, looking at each other. Finally the father shows the son his school report from Sicily he accidentally found while clearing out a desk. "Ninety in maths. Not bad, eh?" These are the father's cryptical final words. The son as usual doesn't know what to answer.

I guess the famous TV series The Sopranos owes more to this movie than to any of Coppola's or Scorsese's pictures.