Border Incident

An underrated gem from the cannon of Anthony Mann. Two agents - one American, one Mexican - cooperate on an investigation into illegal immigrant farm labour. The bad guys are the people smugglers, and boy are they bad - evil, ruthless and sadistic. Contains scenes of extreme violence which Hollywood tolerated in certain westerns and noirs of the late 40's post-war era, and this is kind of a western noir crime movie with lots of vegetables. Its a movie that could give you nightmares, especially if you approach it unaware due to its age, that its actually quite disturbingly brutal and relentless.

Easily ranks as Ricardo Montoblan's finest performance, and only makes one baffled as to how he became such a shameless ham later in life with the likes of Fantasy Island. George Murphy, who plays the American agent, had a fascinating career. Dropping out of Yale to become a coal stoker, he switched to a tap dancing hoofer in 30's pictures, then a solid supporting actor in war pictures. Following the lead of his pal Ronnie Reagan he entered Republican politics, rising to become a member of the US Senate for California.

John Alton lensed this picture, and his monochrome work is a remarkably beautiful achievement. Only a year after this movie Alton would photograph An American In Paris - easily one the best Technicolor movies ever shot.

One of the few benefits of working late hours is the chance to see hard-to-find movies on Turner Classic Movies ( TCM ) and on a few other cable television channels ( ENCORE ). One of the reasons to see 'film noir' productions on TCM is that they seldom circulate in any other forums, and also, the way these films were made works OK on a regular television screen and system.

"Border Incident" is one of those TCM presentations I've seen more than once now, and I am most favorably impressed with it. My initial vote was for a seven but after re-thinking it, I sent in a re-vote of eight.

The camera work, cinematography, was A + in my opinion. It has the best characteristics of what we would now call "docu-drama." Some of these older movies have great acting and corny plots, and in some "film noir" stories you get great story-telling and B + acting. I guess that's why they were called "B" movies.

Actually, that's not true, as I believe the "B" assignment meant that the movie was sent out as the second part of a double feature package.

Fifty-six years after the facts which make up this docu-drama were deemed to be important, the only change in them facts is for the worse.

Greed and opportunism still dominate the "politics of temporary labor" or more accurately, the "politics of cheap labor." There's something gnarly about this movie, and it isn't just about the obvious elements of the plot, being avarice, sadism and murder ....

As a young lad growing up in Texas, I learned first hand how difficult life was and could be for migrant farm workers. Mexican and native-born.

The people-smuggling business has been much in the news lately and it has been the basic theme of several really well-done movies, and I can recommend "The Transporter" as being one, and "The Empire Of The Wolves" with Jean Reno as being another to see on DVD.

There's a lot of real humanity in "Border Incident," and yet it all plays out in a stark and tragic way ....

It's definitely not a modernistic or post-modern cinematic mess.

It's a quality film drama on a very important subject.

Border Incident (1949)

This is an amazing movie. There are moments when it feels a little forced, or once or twice a little politicized, but the rest of the time this is as good as post-war movies get (and I'm a complete devotee of this period). John Alton's photography is worth seeing alone, even without the sound it's so good, not that you would want to avoid the fantastic score by Andre Previn. And the direction by Anthony Mann at the peak of his intensity is sharp and beautifully controlled.

The story is largely broken into two parts, though even these two get complicated, so you have to pay attention. Action moves from Mexican to the American side back and forth, following an American agent and a Mexican one (played by the handsome Ricardo Montalban), both undercover. They cross paths more than once, but largely their stories are independent. Eventually there is a huge and exciting confrontation in the Valley of Death with a thick and rather convincing quicksand pool at the bottom. It becomes something like a Western shootout at this point, something Mann became an expert at, but the movie as a whole has a unique feel to it, neither Western nor noir. Yes, it involves crime, guns, deception, and lots of night stuff (terrific is an understatement), but the underlying tone is to undo a crime syndicate on the border, and to root for the two heroes who are working for a cause (a very un-noir thing to do).

A terrific full review of the movie is at bighousefilm.com (click on reviews), in particular going into the director and cinematographer, and the overall mood of the film. Certainly this was my initial attraction, for both Mann in all his ominous but realistic violence and Alton with his deep focus shadow photography are favorites of mine. There isn't a dull moment in this film just in visual terms. If you watch with your eyes, and see great moving camera, vivid dark night stuff, and some sudden changes of focus (like when the two men are in the field at night toward the end and are suddenly up close in the camera, no cutting, just a fast running to the lens an following with the lens). It's really masterful.

But equally important for those who are curious about context and content beyond the art of it all is the Wikipedia entry on the Bracero program, a collaboration between the US and Mexican governments begun in the 1940s to control legal migrant workers. The need for lots of Mexican labor was pressing when millions of US men joined the army in 1942, and after the war there was pressure to keep the program going. In a way, this movie is pure propaganda to support its continuation, and it did get renewed time and again until 1964 (which is about when Cesar Chavez and the "La Raza" movement grew huge). Naturally, agribusiness didn't like it--their claim was they wanted to pay Americans full wages, not Mexicans, but in truth (apparently) they wanted to let the illegal market expand because illegals were so cheap and required no benefits. Whatever the case, "Border Incident" helps dramatize the need for some kind of program in post-war America just to counteract the bad guys running illegals over the border, to everyone's peril.

Speaking of which, the bad guy in charge is played to perfection by Howard Da Silva (who is not Hispanic, nor Portuguese, but Jewish American from Ohio). His whole cadre of greedy ranchers in the desert is convincing and a thrill, cinematically. There is only a glimpse of a female in the whole movie, and yet there is tenderness at times, especially among the braceros themselves. In a way there is something of the feel of "They Live by Night" here, with the layering of plots and types of people together in the dark desert, shot in the same year. But ultimately this is a far more masculine movie, filled with action and power plays and terrific energy.

Anthony Mann directed this still-timely drama that stars Ricardo Montalban as Mexican agent Pablo Rodriguez, who teams up with American agent Jack Bearnes(played by George Murphy) to tackle the problem of illegal Mexican Immigrant smuggling into California, which has seen many of them mysteriously murdered. Rancher Owen Parkson(played by Howard Da Silva) is chief suspect as the ringleader. Pablo goes undercover from the inside as an immigrant, while Jack investigates from the outside. The case will prove quite dangerous, more than either man realized... Fine drama with solid acting and direction, and an incisive script that wouldn't need much changing to work today, sadly.

Director Anthony Mann is probably best remembered for the series of gritty westerns he made with James Stewart in the 1950s. However prior to this he directed some memorable film noire classics of which "Border Incident" is one of the best. Devoid of the usual film noire "femme fatale", it is nonetheless a dark and unusually (for the time) violent film.

The plot concerns the efforts of the Mexican and American Immigration Services to stem the flow of illegal farm workers crossing the border into the US illegally. To this end the Mexicans assign Pablo Rodrgues (Ricardo Montalban) and the Americans, Jack Bearnes (George Murphy) to work under cover to find the sources of both the illegal traffic and the grizzly murders of workers crossing back into Mexico with their earnings.

They discover that the head of the operation is Owen Parkson (Howard DaSilva). His cohorts include Arnold Moss and Alfonso Bedoya as a couple of ruthless murders, Charles McGraw and Arthur Hunnicutt as his foreman and assistant and Sig Ruman as his Mexican "recruiter".

The film is both dark (most of the film takes place at night) and violent. At the beginning we see the brutal stabbings of several helpless workers returning home by Moss, Bedoya and company and the unceremonious dumping of the bodies into a pool of quicksand. Later, one of the characters meets a particularly gruesome end under a large farm cultivator.

Montalbon and Murphy in particular, turn in excellent performances. Both live on life's edges in their efforts to bring the criminals to justice. Sig Ruman is very good as the brutal Mexican contact. McGraw walks away with the villain's honors as the devious foreman. In fact the whole cast is excellent.

As this film was produced by MGM, Mann was given a larger budget than usual. The scenes are well constructed and lit to give one that classic black and white feeling of impending doom. It will keep you glued to the screen from start to finish.