Police frontière

Good, low-key, absorbing drama. One thing about Jack Nicholson, he seems to instinctively know when to effectively play a subdued character. His reading and performance of this character were perfect in this movie.

He plays an increasingly unhappy, and troubled Border patrolman seemingly powerless to do anything about the brutality and corruption he sees around him. Saddled with a shrill, materialistic wife, Nicholson portrays the desperation of a man trying to make a difference, and do the right thing.

Not an award-winner, but an effective, interesting character study.

When one considers the extraordinary acting career of Jack Nicholson, the performances that immediately spring to mind are the likes of One Flew Over the Cuckoo's Nest, The Shining and even Tim Burton's Batman. They were roles seemingly tailor-made for Nicholson's manic arched eyebrows and devilish grin, but he was capable of so much more when, ironically, doing far less. Arguably, he has never been better than as Charlie Smith, the middle-aged and weary border agent working within a corrupt organisation in El Paso. When we first meet him, he is discussing with the owner of a factory which of his illegal immigrant employees to arrest so he can meet his quota of deportations. He reads the Mexican youths their rights like reading from a shopping list, but they'll be back in a few days. Charlie's job is ineffective and he knows it, and it takes a special actor to pull off indifference and boredom without appearing disinterested.

Every night he returns to his nondescript trailer to eat a TV dinner cooked by his stay-at-home wife Marcy (Valerie Perrine). It is Marcy who convinces Charlie to quit his job as an immigration enforcement officer and move to El Paso, where property is cheaper and a job as a border agent awaits him. To please the wife he has fallen out of love with but nevertheless tolerates, Charlie agrees, and falls in with fellow border agent Cat (Harvey Keitel). Along with his supervisor Red (Warren Oates), Cat runs a human trafficking operation across the border, and wants Charlie to join the payroll. Meanwhile, young Mexican mother Maria (Elpidia Carrillo) attempts to flee into the U.S. with her baby and younger brother after an earthquake decimates her town. When she frequently comes up against the border patrols, Charlie start to sympathise with her situation, as well as growing increasingly weary of his wife's wild spending and his colleagues' abuse of power.

The Border didn't do particularly well on its release and its memory has somewhat faded since, but director Tony Richardson's film packs enough of a punch to warrant a reevaluation. It perhaps arrived too late in a decade when cinema had moved away from the character-driven 70s and more towards visual decadence. Yet The Border could also be released today, and its subject matter would be just as relevant, if not more so. It highlights the problems on both sides, with corruption rife and those caught in the middle treated like dogs, and what little progress has been made in the decades since. Recent films like Sin Nombre and Cartel Land have explored and highlighted the same issues, and the result is always violence upon violence. Richardson, who is better known for his exceptional British works Look Back in Anger, A Taste of Honey, The Loneliness of the Long Distance Runnier and Tom Jones (amongst others), directs with little flair but trusts the story to pack enough power on its own. Although it descends into a generic, action-packed climax (which was forced in after test audiences reacted badly to the original ending), The Border deserves another shot, and features a Jack Nicholson at the very top of his game.

Jack Nicholson gives a wonderfully controlled performance in this film. His restraint and control is contrasted to Harvey Keitel's fallen character and to his out-of-control, childish wife (Valerie Perrine). He works in dishonest circumstances in which he enforces the law selectively in a tacit arrangement with crooked businessmen. In so doing he is a part of the exploitation of Mexican workers. When he transfers from L.A. to Texas, his conscience is awakened by his dishonest co-worker and a beautiful, victimized Latina (Elpidia Carillo) and her child.

There is plenty of action and the story moves in response to the characters.

Freddy Fender and Ry Cooder provide memorable and haunting music that just makes the whole film so much more powerful.

Jack Nicholson's transition from brilliant character actor to self-parodic superstar happened sometime in the 1980s. 'The Border' is closer to his best 1970s work ('Five Easy Pieces', 'The Last Detail', 'The King Of Marvin Gardens', 'One Flew Over The Cuckoo's Nest') than to most of his subsequent output. Two of his best performances in recent years have been in movies directed by Sean Penn ('The Crossing Guard' and 'The Pledge'), and 'The Border' reminds me a lot of those. I wonder if Penn is a fan? The director Tony Richardson made his name with British "kitchen sink" dramas and he brings to this Peckinpah-esque material an empathy for "little people" rarely seen in American movies of the 1980s and '90s. Nicholson gives a superb performance, one of his very best. The two women in his life are played by Valerie Perrine and Elpidia Carrillo. The former is best remembered for her appearance in 'Superman' but has acting chops she has rarely been asked to use (see also 'Lenny' alongside Dustin Hoffman). The latter is best known for appearing in the Arnie action classic 'Predator'. Both of them are surprisingly good in this movie. Harvey Keitel is even better. This is one of his "lost" movies - see also 'Fingers', 'Deathwatch' and 'Copkiller' - and seeing him act alongside Nicholson is a real treat. Add to that one of the final roles by the legendary Warren Oates, who had co-starred with Nicholson fifteen years earlier in Monte Hellman's cult western 'The Shooting', and 'The Border' is essential viewing for film buffs. I think the movie has a few flaws but they are easily overlooked, and repeated viewings reveal its true worth. 'The Border' is a real sleeper, and recommended to fans of intelligent, character based drama.

Although this is not a great film it is a lot better than its reputation. Jack Nicholson is excellent and Harvey Keitel is very good. The beautiful and beguiling Mexican actress, Elpidia Carrillo, handles a limited role with enough artistry to make me wonder why I never heard of her before. Turns out she does have a healthy list of credits both internationally and in the US.

The direction by Tony Richardson, who had his heyday in the sixties with films as varied as The Loneliness of the Long Distance Runner (1962), Tom Jones (1963), and The Loved One (1965), all adapted from novels, is at times inspired and artistic, and at other times as ordinary as dishwater. I don't think he was able to make up his mind while directing this film about whether he wanted win an award at Cannes or Venice or to just sell some tickets. As it turns out he did neither as well as he might have. Nonetheless as a snapshot of poor Mexican immigrants (and would-be immigrants) as they clash with the border patrol culture twenty-some years ago The Border is definitely worth a look. Particularly vivid is the depiction of the absurdities and hypocrisies among the coyotes, the "wets," the border patrol rank-and-file, the law and the realities of life along both sides of the thin strip separating the promised land from the third world.

Nicholson plays Charlie Smith, a border patrol cop with a trailer trash wife (Valerie Perrine) who yearns to move up to the luxury of duplex living. In particular she wants to move in next door to her high school girlfriend Savannah (Shannon Wilcox) who is married to the "Cat" (Harvey Keitel). Charlie Smith is a bit of an innocent who was satisfied with his trailer home and his sexy, loving, but not overly sharp, wife Mary. When they do pick up and move to Texas he runs headlong into the corrupt lifestyle of the Cat and the cruel realities of his job which consists of arresting illegal immigrants and sending them back to Mexico. Meanwhile Mary isn't just sitting home twiddling her thumbs. Instead she is out buying water beds and dinette sets, overstuffed chairs and sofas, and other knickknacks that put a strain on the couple's budget which leads Charlie into temptation. But when taking kickbacks turns to murder, Charlie draws the line in the sand (literally as it happens) and he and the Cat have a rather rude falling out.

Meanwhile Charles spots Carrillo as the lovely Maria with babe in arms and a little brother at her side. Predictably the system cruelly exploits her, bringing Charlie to her rescue.

I think the striking contrast between Charlie's air-headed Mary and the desperate and needy Maria needed to be further explored. As it was played Charlie is just a good joe doing a good deed or two when in fact we know he is much more involved than that. I think the movie would have been improved by making him choose between the two women as he had to make the moral choice between going with the Cat's corruption or going against him.

See this for Jack Nicholson, one of the great actors of our time, who brings subtlety and veracity to a role that could have been ordinary, while giving us only a hint of the commanding and irreverent style that he would adopt in later years.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)