Blu Ray Review: The Don is Dead (1973)

The massive popularity of The Godfather (1972) resulted in other studios and filmmakers wanting to make their own mafia movies, based on that film’s success. One of the better examples is Richard Fleischer’s The Don is Dead (1973), which has been released on DVD and blu ray from Kino Lorber.

The film, based on Marvin H. Albert’s novel from the year before, gathers a powerhouse cast. Just as The Godfather put classic actor Marlon Brando out front, The Don is Dead has Brando’s Viva Zapata co-star Anthony Quinn heading the cast. Familiar actors in supporting roles include Robert Forster, Sid Haig, Angel Tomkins, Joe Santos, Vic Tayback, and, for dab of authenticity, Godfather actors Abe Vigoda and Al Lettieri. While The Don is Dead does have the cinematic style of The Godfather, it succeeds with its own aggressive structure.

When a mafia kingpin dies, his gang is rudderless and his volatile son, Frank, is even harder to contain. When Frank discovers his ex-fiancée is having an affair with the Don of his family, he savagely beats her. The Don puts a hit out on Frank, but calls it off after being pressured by other members of his crime family, but this results in an internal gang war between the two rival factions in a quest for power. The Don is eventually felled by a stroke and tries to maintain some level of control despite his limitations.

Director Richard Fleischer’s approach to the material is purely visceral, with just enough plot exposition to justify the non-stop violence that permeates the film. While this means The Don is Dead is uneven in spots, it is nonetheless a very exhilarating experience with a great visual sense. One can see the Godfather influence here, but can also see how elements of this film, as much as any other, influenced later mafia dramas, including HBO's The Sopranos.

Fleischer was having a good year in 1973, having also helmed the sci-fi classic Soylent Green. The film is produced by veteran Hal Wallis, his second-to-last production before Rooster Cogburn concluded his career three years later. The music is by Jerry Goldsmith, effectively enhancing the taut drama and well as the explosive action.

Kino Lorber’s blur ray is sharp, and features a welcome commentary from film critic Sergio Mims, whose frame of reference, vast knowledge, and understanding is always enlightening and informative.

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