Fronteiras Perdidas

No need to detail the plot as others have done. On the whole, this is a very sincere and thoughtful production. Easy to say that by today's standards the film lacks honesty, especially by casting whites in the lead roles. However, I expect the production went as far as any commercial production of its time could in dealing with the emerging issue of race prejudice. Remember, much of the commercial audience was in the Jim Crow South, and I expect many theaters there refused its showing, (probably in the North too, only more subtly).

Besides, the effort to de-glamorize everyone and everything in the film, along with its location photography and varying sound quality, suggests that social conscience is what the film-makers were aiming for and not big box office. This was an independent production, far from the Hollywood glamor factory, even though the executive producer Louis de Rochemont had been a top producer at 20th Century Fox. I particularly like the way they used ordinary looking people in so many of the principal and supporting parts, especially the charming but plain-faced Susan Douglas and the equally charming but goofy-looking Carleton Carpenter. The ending too, is handled with a fair amount of honesty. especially the highly symbolic very last frame.

Too bad that this was precisely the kind of gritty little conscience film that disappeared from the screen following the Mc Carthy purges that loomed on the horizon. Even though the movie is now mainly of historical interest, it indicates the sort of challenging entertainment that was lost to the public during the Cold War decade of the 1950's. More than anything, it now needs to be shown more often, so that younger generations can get a definite sense of time, place, and attitudes, even if the actors are white.

Lost Boundaries I felt was a really good film. Never would have even thought of something like it. The family had such good hearts and were caring and loving people who got along with everyone they met pretty much. No body knew they were actually African American though. If people had known they would not have had the life they lived for such a long time. He wanted to tell people. He did not want to have to keep his race a secret just so he would be treated differently. Its sad to think that people were really like that. This movie has a great ending however. You think for a little while that once their secret was revealed that they were going to be shunned by everyone. They were at first too except for the daughter with her boyfriend. He never let it bother him. She was more ashamed of it than he was which is also very sad. Those kids grew up just like all the other white kids thinking that being a Negro was a terrible thing and even though the son was kind to them and one of his best friends was Negro he was not pleased and was disgusted when he found out he was actually African American himself just very light skinned. But the town comes around when in church the preacher preaches about how that is not how God would do things. God loves everyone and treats everyone equally and it was at the end of the service that people let go of the grudge they had against different colors. They also kept him as their town doctor. I saw many things in this film that I would be appalled to see actually happen to day but that doesn't change the fact that that is how the times were then and just how people acted.

Can you imagine Mel Ferrer as a Pullman porter in the 1940s? Neither can I. He doesn't play one but his character, who is a young doctor passing for white, says that if he let his race be known he might end up doing that.

This is (so we are told) a true story. The Ferrer character is given a break: He becomes the local doctor in a small New Hampshire town. His wife, also played by a white actress who therefore can very easily "pass for white" goes along with his charade.

(The actor playing their son as an adult is very good. His character becomes involved in an adventure -- what, I cannot say without giving away the plot. It is related in a noir fashion that both works and seems a little generic.) Possibly we're meant to be inspired. My main feeling about the choice this couple makes is that it is egregiously unfair to their two children. The kids don't know they are black.

It's a low-keyed story, generally well acted. I found it hard not to get caught up in the central characters' dilemma.) I'm not sure why but the casting didn't bother me so much as that of "Pinky." Maybe because "Pinky" is more self-congratulatory about touching such a daring topic. "Lost Boundaries" is really not a message movie. It tells a story and tells it well -- albeit a bit dishonestly

Lost Boundaries (1949)

This affected me more than I would have expected. I mean, the changes in how we see race and "race relations" since 1949 are huge. The acting is really solid, if not searingly intense (which it has room for). And the narrative is complex enough with a few turning points to make it all interesting.

There is a sense as you watch that you're being shown a social issue and that the jury is already in. We know what we are supposed to feel, and we feel it. There is also a sense of something that doesn't happen much any more—the well known trick of "passing," which means being an African-American (usually) who is light skinned enough to "pass" as white. This is no small thing, since it required a social shift and truly living a "white" American's life, including both the advantages and the inner angst of having left behind your own roots.

So it's important stuff, and good stuff. And it was more compelling in its details and acting than you might think, being both socially loaded and a bit low budget. The production standards are high, however, and the results make it worth watching. I frankly did more than confirm what I already knew about the era and race in America. I realigned a little, feeling more than reminded, but also a little educated.

Yes, the approach here is outdated, and it ignores the true range of racism and hatred of the time, even in the supposedly enlightened New England setting here. But it has the truth woven into the stylized telling. If you think you already know all this, give it a look anyway. It's imprtant enough to try.

On a famous Law And Order episode S. Eptha Merkerssen confronts a suspect who has passed for white asking him what it was like. It must be a unique experience. But it's one gay people for generations did with use of the closet. I think Mel Ferrer's real life character of Scott Carter would have identified with the closet. He was in fact in a race closet.

Mel Ferrer got his first big break playing the lead who with his wife Beatrice Pearson is a light skinned black man, one who has 'good color' so he can pass. After losing a job at a hospital he was hoping to get Ferrer gets a position at a small Maine village, not unlike Bing Crosby coming to work to take over Barry Fitzgerald's practice in Welcome Stranger. But Bing wasn't exactly carrying the secret Ferrer has. He and Pearson never even tell their kids.

It all comes crashing down when a background check on Ferrer disqualifies him from a Naval commission. The only place for black people in those days was mess stewards. The rest of the story is how Ferrer and his family deal with being ripped from the racial closet and the town around him.

In the climax the town preacher Robert Dunn who was a real minister as well speaks for the town and how they deal with this knowledge about their trusted town physician.

Mel Ferrer got his first big break in Lost Boundaries and while it's not quite a classic it holds up well for today's audience.

Might be a good film for a gay black audience to view.