Borderline

Yes, and odd and confusing and a dozen other adjectives that make you think just what kind of movie this is!

This is not a movie for most people. It's more like an experience, an ahead-of-its-time extended music video. Most of the action is stifled, static and repressed. The images seem like set-pieces, paintings in time, feelings encased in poses. All which remind me of famous Greek director, Theo Angelopoulos and his static images - which were not static at all - since they housed emotions and a participation of audience in conjecturing what they were seeing by a process of mental elimination of causes and possible actions.

BORDERLINE - instead of being images of things, gazes at people and we are challenged to discover just what it is they are thinking. Mostly because the number of intertitles is scant and far between.

All this is to say -- this is not an easy film to watch. I enjoyed immersing myself in the images, however. The story is rather odd in itself - perhaps it was risqué for its time. In fact, I am sure that a biracial relationship was off-center for those times. As were its sexual undertones.

Indeed, I think the film's title is about the BORDERLINE type of lifestyle that these people wanted to live. And in turn, the consequences, emotional and social, which affected their decisions surrounding this.

This sort of "experimental" film has been done and redone thousands of times by professionals and film students during the 20th century. Perhaps never as compelling as in this film - which is a landmark of sorts for film buffs.

Yet, I repeat, not for everyone.

The film is really about the myriad psychological states that we go through during a relationship -- and racial prejudice is the juice that runs this study. But there are sometimes subtle and sometimes obvious moments of homosexual metaphor scattered throughout.

Don't watch this movie if you are in a hurry. The film won't go faster just because you want it to.

Intriguing but not altogether successful - but highly recommended for film buffs and Gothic types. Both in which I've dabbled through the years.

"With high expectations I went along to the Academy Theatre on Monday to see "Borderline", a silent film produced by Kenneth MacPherson, editor of Close-Up, and starring Paul Robeson with his charming wife Eslanda. At the end I was dumbfounded. Mr MacPherson has apparently attempted to make a film story out of the amazingly suitable screen material provided by what is called "the negro question." No one could deny the possibilities of such a story. But Mr Macpherson buries his intentions in a conglomerate of weird shots and queer situations, worked out around a dissolute set of unsympathetic characters. He thinks too much of close-up and not enough of border-line. The result is a wholly unintelligible scramble of celluloidian eccentricity. The film is not, at the moment, being offered by any renter for public exhibition, though it is certified "A" by the B. B. F. C. I doubt if it will be. It is not for one moment entertaining, and only stimulates one's natural desire to see and hear Paul Robeson in a first-rate "British" talkie, made for the public. In a synopsis we are reminded among other biographical facts, that Kenneth Macpherson "is himself, you might say, border-line among the young cinema directors." Until he can do better than this for the box-office he is unlikely to be allowed over the border-line." (BIOSCOPE, 15 October, 1930)

I recently got a DVD collection of selected Paul Robeson movies from my local library to borrow and I picked this one to view first since it's Black History Month and I wanted to maintain the chronological order (for the most part) of reviewing such films during that month. Anyway, this one was a bit unusual not only because of the subject matter but also because it employs what was considered Avant Garde at the time with lots of close-ups not only of faces but also objects which may (or not) aid in the plot structure. Also appearing is Paul's wife, Eslanda, whose role seems important here. I said seems because if I didn't read the synopsis on this site, I wouldn't have known what the movie was about! The images-not to mention the lack of intertitles-confused me much of the time though I admit they're quite beautiful and intriguing. And the modern jazz score by Courtney Pine adds a modern sensibility that was awesome. Still, this wasn't a very coherent narrative. But on that note, I do recommend Borderline just so you could experience something different if you'd like...

This little-seen experimental film definitely won't be to everyone's taste, but I was impressed by how modern it looked (apart from the lack of sound, it wouldn't have looked out of place in the late-1950s, early 1960s) and the bohemian atmosphere it created. The film makes very little use of intertitles, and so the story can be a little tricky to follow at times, but it isn't all that complicated and an attentive viewer should be easily able to fill in any gaps along the way.

Paul Robeson stars as the husband of a half-caste woman who has had an affair with a white man in a small village in Switzerland. She has ended the affair, but too late to save the marriage, and her lover – who is also married – is having trouble coming to terms with the split. The racial tolerance subject matter and message is fairly rare for the time, and is handled with a surprising amount of maturity. For the peripheral figures caught up in the fallout from the affair, life eventually continues unchanging, and the entire film is pervaded with an air of melancholia.

Although the story does drag a little at times, and the director's choice of shot is sometimes open to question, the look and feel of the film, and the way it brims with innovative ideas (for its time) make this worth watching.

This experimental silent film, made in Switzerland by an independent British film company, is chiefly remembered as Paul Robeson's first film. It's very artistic, with shots often seeming meaningless to the story, which is difficult to understand anyway because of the lack of enough inter-titles. From what I gathered, Robeson's wife, Adah, is in an inter-racial love affair with a white man called Thorne. It doesn't bother the cigar-chomping owner of the bar/hotel where Thorne lives (and she seems to be having a lesbian relationship with a barmaid), but an old lady expresses the town's point of view in an inter-title: "If I had my way, we wouldn't allow negroes in here." Thorne is also called "nigger lover" by someone in the bar. Adah tries a reconciliation with Pete (Robeson), but eventually leaves him. Thorne's wife, Astrid, goes off the deep end, brandishes a knife, cuts Thorne's arm and cheek, and somehow dies. Thorne must have been accused of murder because we learn he was acquitted. As for Pete, he gets a letter from the mayor telling him it is best for everyone that he leave town. So the film is more about racism than anything, but in an up note, the owner tells Pete "The sad thing is, they think they're right. That's the way we are." The meaning of the title is a mystery. It may refer to Adah being light-skinned (a borderline negro) or to the borderline behavior of of the main characters.