Directed
by William A. Seiter
Screenplay
by Devery Freeman
Based on
a story by Devery Freeman
Music by
Hans J. Salter
Edited by
Harry Keller
Cinematography
by Lucien N. Andriot
Fred MacMurray as
Johnny Macklin
Claire Trevor as
Madeleine Haley
Raymond Burr as Pete
Ritchie
Jose Torvay as Miguel
Morris Ankrum as Bill
Whittaker
Roy Roberts as Harvey
Gumbin
Don Diamond as Deusik
Nacho Galindo as
Porfirio
Pepe Hern as Pablo
Grazia Narciso as
Porfirio’s wife
Clifton Young as the
suspect questioned by Whittaker
Charles Lane as
Peterson, the customs officer
Johnny Indrisano as
Gumbin’s henchman
Chrispin Martin as
Pepi, the hotel clerk
Distributed
by Universal International
Produced
by Republic Pictures
Borderline has so many of the characteristics common to noir:
murder, smuggling drugs across the U.S.-Mexican border, cops and federal agents
working undercover. Claire Trevor, Raymond Burr, and Fred MacMurray were all
veterans of film noir by the time Borderline was released in 1950. But
the film has a plotline that I don’t find very often in films noir: romance
fulfilled!
The film starts very specifically at the U.S. Treasury
Department, Customs Agency Service. An agent interviews two dope smugglers, a
couple, about their confiscated stash. The man is led away to be booked because
he refuses to talk. The woman, on the other hand, agrees to talk, but she
doesn’t know a whole lot about the agents’ main concern, a drug smuggler named
Pete Ritchie, and she is led away to be booked, too.
The
interview is observed through a two-way mirror by two agents, a police officer,
and one woman (Madeleine Haley). Haley is with the Los Angeles Police
Department (LAPD). These four join the interviewer when he is finished with the
two suspects, and Haley offers to go undercover to gather some information
about Pete Ritchie. The police officer and the federal agents often talk about
Haley in the third person, as if she is not even present (it helps to remember
that this film was released in 1950). But Haley is persistent and insists on
speaking for herself. She wants the undercover work. She has already proved
herself as a capable Office of Special Services (OSS) agent during World War
II. Finally, all the men agree, without consulting her, that Haley will go to
Mexico to find out what she can about Pete Ritchie—but only because a woman
might have better luck ensnaring a man, any man, including a dope smuggler.
Haley
looks for Pete Ritchie in Mexico and finds him. She also meets another
smuggler, Johnny Macklin, who gets his narcotics from Harvey Gumbin to smuggle
from Mexico to the United States. Macklin and Gumbin are stealing the narcotics
from Ritchie. Macklin’s latest haul, hidden in the bottom of a birdcage and in
a music box, is ready to go across the border. He kidnaps Madeleine Haley and
forces her to go with him—along with the birdcage and the music box—to the
United States because he thinks she is Ritchie’s girlfriend and would be a good
source of information. Of course, Macklin has no idea that Haley is a police
officer and was never Ritchie’s girlfriend, and Haley knows very little about
Macklin except that he’s another drug smuggler.
The two leads in Borderline are first repulsed by one
another because of this mistaken identity. Both of them are agents working
undercover in Mexico, and they are so good at their jobs that they fool one
another. Macklin believes that Haley is the girlfriend of the notorious drug
smuggler Pete Ritchie; Haley believes Macklin is Ritchie’s rival drug smuggler. Macklin is taking his latest drug haul, the one
hidden in the bottom of the bird cage and in the music box, to the United
States. But Macklin is also on the run from Ritchie and his gang of thugs. Ritchie
has discovered that Macklin is stealing from him, and he won’t let this theft
go unpunished. Macklin now has Haley for company; Ritchie also assumes that she
will talk and figures he’ll kill her, too.
(This blog post about
Borderline contains all the
spoilers.)
Macklin and Haley are
slowly drawn toward one another while they head north for the U.S.–Mexico border.
Macklin never once suspects Haley of trying to escape and rejoining Ritchie,
even though he thinks Haley is Ritchie’s girlfriend. While they are on the run,
they stop for the night at a hotel, and Macklin allows Haley every opportunity
to leave. When she gets ready to go to the communal bathroom down the hall, he
tells her, “Don’t talk to
strangers.” Haley’s response: “I don’t know any strangers.” Her wisecracking
keeps Macklin on his toes, and he learns to appreciate her sense of humor.
Macklin and Haley’s
trip north is not a smooth ride. They pose as a married couple so that Macklin
will attract less suspicion and can smuggle the narcotics successfully. Their
plans are nearly thwarted at almost every point, and not just because Ritchie
is pursuing them. One of Macklin’s friends, who joins them on the road, dies of
his injuries after a shootout with Ritchie. Macklin and Haley are forced to abandon
their car and walk to the nearest airport. On the way, they flag down a ride
with the local sheriff, who takes them the rest of the way to the airport. They
find a pilot with a four-seater willing to take them to the United States, but
the plane runs out of gas and they are forced to land on an empty beach until
they can take off again during daylight hours with the spare tank. Finally,
they find another car to drive across the border.
Macklin and Haley
learn each other’s true identity at the border, in the U.S. customs office.
Macklin still has to work undercover and deliver the smuggled narcotics to his
connections. He is backed up by the customs office and the LAPD. Law
enforcement plans to go in after the criminals in their hideout, with Macklin
taking the lead because the criminals already know him and still think he is
one of them. A shootout ensues when the rest of the law enforcement officers arrive
at the hideout. Macklin survives, and he and Haley are reunited.
Do any of these plot
points sound familiar to you? I know a lot of romantic comedies have similar storylines,
but I am thinking specifically of It Happened One Night, the 1934 film
starring Claudette Colbert and Clark Gable and directed by Frank Capra. The
plots of both films are remarkably similar. As far as I know, Borderline
is not a remake of anything, let alone It Happened One Night. But I sure
kept thinking of It Happened One Night both times that I watched Borderline.
It wasn’t hard for me to develop the two lists below, showing the similarities
between the two films.
So many things—not
just the similarity to It Happened One Night—about watching Borderline were a surprise for me. One
is the chemistry between Fred MacMurray’s character, Johnny Macklin, and Claire
Trevor’s, Madeleine Haley. I have seen MacMurray in other noirs (Pushover, Double Indemnity) and I can never quite believe him as an homme
fatale or a romantic interest. Romance is not the main point of a noir, but the
attraction is supposed to sizzle and then burn because it is often the impetus
for the commission of a crime or two. I can never be convinced of it, however,
between MacMurray and Kim Novack in Pushover,
and between MacMurray and Barbara Stanwyck in Double Indemnity.
That changed with Borderline. The chemistry between Johnny
Macklin and Madeleine Haley carries the film. Claire Trevor is fantastic in
almost every movie of hers that I have seen, so maybe some of the on-screen
magic can be attributed to her remarkable talent. Or maybe MacMurray has
finally met his true leading lady.
The lighthearted mood
was another surprise. In fact, Borderline could be called a film noir comedy or a noir
romance—one without a femme or an homme fatale. The
guns, undercover intrigue, betrayals, drug smuggling, murder, attempted murder,
and other assorted crimes make Borderline
a film noir, but it could also be called a noir romantic comedy. Some of this
must be attributable to the screenwriter, Devery Freeman. The copy of the DVD I watched included a text
featurette called quite simply “Film Background.” From it, I learned that Devery
Freeman worked on three Red Skelton pictures: The Fuller Brush Man
(1948), The Good Humor Man (1950), and Watch the Birdie (1951). In
1956, he wrote the final Abbott and Costello film Dance with Me, Henry.
And the text featurette makes the following point:
“. . . In Borderline,
Freeman injects quite a bit of humor into the usually humorless film noir.”
I must confess that I
didn’t find myself laughing out loud during Borderline, but it certainly
has its humorous moments.
I never thought about the similarities between the two films, but you're right there are a lot. As opposed to you I wouldn't call Borderline Noir at all, for me it's more of a crime comedy. It's a while since I watched it but I remember I liked it. MacMurray and Trevor made an appealing couple.
ReplyDeleteI'm not one to hold films to strict categories so noir romance, crime comedy . . . it all works for Borderline.
DeleteBy the way, I read your profile at CMBA with great interest. I always think of Claire Trevor as a "dame," no matter what film she is in! I think her role in Borderline qualifies.
Claire Trevor is definitively a dame.
DeleteI've been slowly making my way through the blogger profiles on the CMBA website. I'll have a look at yours soon.