Diagonaldi Very well executed

Matialth Good concept, poorly executed.

Fairaher The film makes a home in your brain and the only cure is to see it again.

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Edgar Allan Pooh . . . BROTHER ORCHID documents a triumph of altruism without one word of religious dogma. Ex-gangster "Little John's" final encounter with the scrub-woman is straight-forward on its face, but one of the most touching ever put up on the screen. It brings to mind that bicyclist who said, "One small step for a man; one giant leap for Mankind." While Little John does not ever use steroids (or lie about it), he commits many of the other frauds to which human frailty is prone. His peccadilloes continue throughout his first sojourn at "Saint Floracian Monastery," but upon his return to the Real World, he learns that you can take a monk out of the monastery, but you cannot take the monastic teachings out of the monk. No doubt Edward G. Robinson's best role of a long career, he makes Little John's transformation credible in a way that his BROTHER ORCHID co-star, Humphrey Bogart, would envy during his annual Christmas Cry (see the pertinent IMDb "trivia" item about Bogie).

utgard14 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.

MartinHafer 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.

classicsoncall 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.