The gangster films of the 1950s represent the growing influence of organised crime in postwar America. The criminals are not called the mafia, but that is who they are. Richard Conte plays a former accountant for the organisation who makes a new beginning in Florida and intends to start a family with his lovely wife (Dianne Foster).
Only you can never really leave. The mafia makes him an offer he can’t refuse- to seek out his brothers who are suspected of betrayal. Though Conte is a classic dupe and it’s in b&w, this isn’t film noir. It’s shot in bright daylight. The fashions, apartments, air travel and the cars belong to the affluent Eisenhower period.
This is more like a proto-60s gangster film. The vision of the mob as a parasite insidiously devouring its legitimate capitalist host is extremely plausible. They are embedded. There is nowhere for the eldest Rico brother to turn. At least until the unrealistic Hollywood ending, probably insisted upon by the production code.
Conte's role is paramount. Everyone else is in support. Larry Gates is best as the ruthless, duplicitous mafia fixer. There’s a fine script and the sound mix is sophisticated for its time. It has been forgotten because of the many more violent and stylish mafia films to come. But it feels like a landmark.