Border Incident

Before directing a plethora of classic Westerns, Anthony Mann cut his teeth on several modest but striking films noir. Border Incident (1949) is a stark, uncompromising look at illegal immigration in the Southwest, a docudrama before its time that hasn't significantly dated. If it weren't for the slow pace and occasionally clunky plot, it would be a great film.

In the American Southwest, a multi-national gang of crooks are helping Mexican farmworkers illegally enter the US, only to exploit, rob and ultimately kill them. American and Mexican law enforcement team up to put a stop this ring: Mexican agent Pablo Rodriguez (Ricardo Montalban) poses as a would-be immigrant, while American INS Agent Jack Bearnes (George Murphy) infiltrates the gang of crooked rancher Owen Parkson (Howard da Silva). It isn't long before their cover is blown, however, and both cops must try and stay alive while bringing Parkson and Co. to justice.

Border Incident is an interesting film on several levels. Not overtly political, it's nonetheless an angry, unsparing portrait of immigration, loosely based on real-life incidents. A brutal opening scene, with three aliens waylaid in a canyon and murdered, sets the tone immediately. Immigrants are cheated, murdered, left to die and generally abused: one of Parkson's thugs pointedly telling one that they have no rights as illegal aliens! The documentary feel adds a lot to the film, giving it a wonderful air of credibility. If anything, contemporary immigrant stories - especially those travelling longer distances than the Mexican border - are far more harrowing than what's depicted here.

Mann wonderfully subverts Hollywood conventions throughout. Rodriguez, the Mexican cop, is the hero, with Bearnes in a secondary role - odd enough today, let alone sixty years ago, when non-white leading men were almost unheard of. Buddy cliches are also avoided: despite equal billing and a common end, the two cops work independently and have only a few brief scenes together. When one cop is menaced by bad guys, the other is able only to watch them suffer. Trademark touches of Mann violence - a lengthy torture scene, a character crushed beneath a tractor, murder victims thrown into quicksand - are also quite striking.

Despite its virtues, Border Incident doesn't quite reach the level of great film. The richness of character found in Mann's best work is sacrificed for message and plot, which is understandable. The pace often flags in the middle third, as the movie becomes detail-heavy and weighed down in story. The movie is never hard to follow, but it's not always gripping or compelling, with slow and draggy passages. Further, the film's honesty is undercut by showing both the US and Mexican governments working hard to help the immigrants - an optimistic and naive view that, I fear, doesn't square with reality.

Mann's direction is wonderful. With cinematographer John Alton, Mann creates a wonderfully stark and desolate atmosphere, mixing moody, expressive black-and-white with imposing Southwestern landscapes - most impressively in the canyon climax, a truly remarkable scene. The use of deep-focus in interior scenes is also quite impressive. If nothing else, it's certainly a great-looking film.

Ricardo Montalban (Battleground) gives a charismatic, well-rounded performance, easily carrying the film. George Murphy (also of Battleground) gets the weaker part but does well-enough. Alfonso Bedoya (The Treasure of the Sierra Madre) and noir regular Charles McGraw (Spartacus) stand out among the supporting cast.

Even if not entirely successful, Border Incident is still a worthwhile film, and an interesting exploration of an issue that remains pertinent today.