{"id":43212,"date":"2014-07-25T06:00:49","date_gmt":"2014-07-25T10:00:49","guid":{"rendered":"http:\/\/www.moviefanfare.com\/?p=43212"},"modified":"2015-01-13T01:36:21","modified_gmt":"2015-01-13T06:36:21","slug":"border","status":"publish","type":"post","link":"https:\/\/www.moviefanfare.com\/?p=43212","title":{"rendered":"Crossing “The Border” Today"},"content":{"rendered":"

\"The<\/a><\/p>\n

A porous border between the United States and Mexico. Men, women, and children desperately crossing into America illegally\u2014in massive numbers.\u00a0Corruption. Drugs. Violence.<\/p>\n

Existential fears about the loss of a common \u201cAmerican\u201d culture.\u00a0Nativist rage expressed over the airwaves.<\/p>\n

This is a 2014 story, but of course it is not a new story; remember the \u201cReagan Amnesty\u201d? Released just four years before the passage of the Immigration Reform and Control Act, English director Tony Richardson’s<\/a> superlative 1982 drama The Border<\/em><\/a> is about as topical a film as it gets at the moment, but that is just icing on the cake, if you will, as far as the good reasons for revisiting it now are concerned.\u00a0But do pocket your preconceptions: A close look at the Richardson film today reveals just how even-handed its \u201cmessage\u201d is, especially relative to some critiques offered at the time about its moralizing.<\/p>\n

\"The<\/a><\/p>\n

The film\u2019s story concerns a border patrolman (Jack Nicholson<\/a>) who relocates from California to Texas at the behest of his wife (Valerie Perrine<\/a>), a materialistic sort who wants to trade up their trailer park residence for a duplex in El Paso\u2014in order to live in a way that looks (to her, at least) more like the American Dream. We see from the get-go that Nicholson\u2019s character is restless inside; it could be because he is saddled with a spouse that comes across like a nagging\/ball-busting bubblehead\u2014a recurring trait in Nicholson leading ladies (see: Five Easy Pieces, Carnal Knowledge, The Shining<\/em>)\u2014but it soon becomes clear that it\u2019s a far more existential dilemma for him, one that is fast fueled to crisis when his new neighbor and border patrol partner (Harvey Keitel<\/a>) introduces him to a corrupt scheme to collect money for shepherding illegals towards businessmen eager to take advantage of cheap labor.<\/p>\n

Nicholson initially wants no part of it. Soon, though, he finds himself in that classic \u201cSerpico\u201d situation, where he is surrounded by people on the take, and quickly revealed to his colleagues as a troublemaker because he refuses to compromise his principles. He gets in even deeper by becoming invested in the well-being of one young Mexican mother (Elpidia Carrillo<\/a>) he watches from afar\u2014over a stretch of the borderline separated not by a fence but by an easily crossed shallow creek. At one point, she and her younger brother are detained when they attempt to cross over, with her infant child eventually stolen from her to be sold on the black market.<\/p>\n

\"the-border-1982-bars-jack-nicholson-harvey-keitel\"<\/a><\/p>\n

As\u00a0Nicholson’s wife piles on debt with the purchases of a plastic-covered couch, a waterbed, and a swimming pool, and as the possibility of helping out the woman he has become obsessed with becomes apparent to him,\u00a0he agrees to collaborate with Keitel in the border patrol\u2019s immigrant-smuggling\u00a0operation. Jack\u2019s character finds himself\u2014quite literally\u2014\u201cdrawing a line in the sand,\u201d though, when he discovers that Keitel has killed a truck driver who was attempting to shave a little profit off of his bottom line.\u00a0“I’m not in this for murder,” he angrily tells Keitel; but in the process of retrieving the young woman’s missing infant, Nicholson will be forced, out of necessity,\u00a0to confront that moral position, too.<\/p>\n

The Border<\/em> contains politics, but it doesn\u2019t contain cheap <\/em>politics\u2014and this is one key to its lasting vitality. While the story is concerned with the discovery of empathy for the immigrants, there are\u00a0never any serious arguments made, for example, that immigration laws are improper in and of themselves, or that the border between the U.S. and Mexico shouldn\u2019t be enforced at all\u2014as some of today\u2019s overheated rhetoric would have you believe is happening today.<\/p>\n

If this same story were to be attempted in a modern film, though, it\u2019s a good bet that our protagonist\u2019s dilemma would be couched in just such a stark moral choice between repelling \u201cundocumented\u201d immigrants or helping them reach a better life in America, laws be damned. And it\u2019s also a good bet we\u2019d have plenty of on-the-nose dialogue where the main characters litigated these issues in ham-fisted \u201cleft-right\u201d confrontations.<\/p>\n

\"the-border-1982-line-in-sand-harvey-keitel-jack-nicholson\"<\/a><\/p>\n

The script for The Border<\/em> presents its \u201csocial issue\u201d concerns more matter-of-factly: appropriate to the era, the Mexicans are commonly referred to as \u201cwetbacks\u201d or \u201cwets\u201d by the border patrolmen; the conspiracy to smuggle some immigrants into the country is well-explained as a matter of pragmatic-if-unsavory capitalism; the problem of drug smuggling is evident and ugly; and the difficulty of performing the job of law enforcement at the border is shown to be the difficult and dangerous\u2014and frustrating\u2014occupation that it is. As for the \u201ccharacters\u201d of the largely nameless border-crossers, they are neither artificially ennobled nor demonized.<\/p>\n

The same can be said for the film\u2019s main characters. There are \u201cvillains\u201d in the film, yes\u2014we see them on both sides of the border\u2014but for the most part, we\u2019re just dealing with people engaged in hard times all around. The film\u2019s three screenwriters deserve enormous praise for this quality in the writing, though their related credits show why this achievement might be less than a huge surprise: Deric Washburn previously worked on The Deer Hunter<\/em> and Silent Running<\/em>; Walon Green already had The Wild Bunch<\/em> and Sorcerer<\/em> in his back pocket; and David Freeman, five years later, penned the journalism drama Street Smart<\/em>.<\/p>\n

Devoted Jack Nicholson fans are well-acquainted by now with the different kinds of performances that make up (pardon the pun) \u201cThe Two Jacks.\u201d There\u2019s the\u00a0Jack of Bob Rafelson films and Carnal Knowledge<\/em> and Chinatown<\/em>\u2026and then there\u2019s the \u201cJACK\u201d of The Shining<\/em> and A Few Good Men<\/em> and Batman<\/em>. Any Nicholson performance can be thought of as weighted more heavily towards sensitivity or scenery-chewing, but often we\u2019ll get an ideal mixture of the two\u2014with maybe the perfect synthesis visible in his Oscar-winning work for One Flew Over the Cuckoo\u2019s Nest<\/em>.<\/p>\n

\"the-border-1982-jack-nicholson-elpidia-carrillo\"<\/a><\/p>\n

In The Border<\/em>, Nicholson gives a low-key performance that has been largely, and unjustly, forgotten; he mostly goes for subtlety and the slow burn here, in keeping with the mood of the entire film. We do get hints of \u201cJACK\u201d showpieces, though. When he loses his cool at a home cookout, dumping his barbecue grill into his own pool, it\u2019s a toned-down recall of the famous diner flip-out in Five Easy Pieces<\/em>. Conversely, the scene where Nicholson\u2019s character reassures the young\u00a0mother that he wants nothing in return for his benevolent actions\u2014certainly not sex, as it becomes clear she has experienced in transactions with her own people\u2014it predicts the kind of weary tenderness we would see five years later, with Nicholson\u2019s illuminating turn as a Depression-era drunk in Ironweed<\/em>.<\/p>\n

Nicholson\u2019s character in this 1982 picture carries over the \u201cantihero\u201d shadings made popular in the \u201870s; when he\u00a0casually strolls across the border into Mexico it\u2019s a key reminder of the sense of entitlement an \u201cugly American\u201d can have, as well as a\u00a0reflexive disregard for the laws they expect to apply to others. There\u2019s one shocking moment that does \u201cdate\u201d the film in an unexpected fashion\u2014when Nicholson slaps his wife in a petulant fury. It\u2019s an especially jarring moment, revealing\u00a0how it wasn\u2019t so very long ago that smacking your spouse was considered more\u00a0of a momentary lapse of judgment than the criminal act of aggression it really is.<\/p>\n

But the genius of The Border<\/em>, finally, isn\u2019t that it is the story of Big Issues; it\u2019s instead the story of a man\u2014or perhaps the story of a man and a woman\u2014trapped in a scenario of grim and desperate moral complexities. It\u2019s the inverse of the Casablanca<\/em> idea, where, in a crazy world, the stories of two little people do<\/em> matter a hill of beans. The social justice elements of the film, while providing a highly visible backdrop, are subordinate enough to the individual characters that the empathy the film generates isn\u2019t a by-product of being \u201cbeat over the head\u201d or having a message \u201cshoved down your throat\u201d\u2014though it is fair to say some felt this way about the film in 1982.<\/p>\n

\"the-border-1982-jack-nicholson-baby\"<\/a><\/p>\n

That is a function of the changing times. The Border<\/em> is heavy-handed by today\u2019s standards in the same way that the Boris Karloff Frankenstein<\/em> is filled with graphic horrors\u2014which is to say: Not so much. Today, perhaps because of the extent to which the quality of political discourse has significantly degenerated into hysterical unreason, we can now see the film more clearly as the mature drama it is and always was.<\/p>\n

One critic of the film\u00a0proclaimed the title song by Ry Cooder (\u201cAcross the Borderline\u201d)\u00a0too guilty\u00a0of\u00a0underlining the film\u2019s posture as a leftist cinematic tract. But look carefully at the lyrics now to see that, in fact, they are ingenious enough to be read as a message that might actually be agreed upon by\u00a0both of the warring factions engaged in today\u2019s political debate:<\/p>\n

There’s a land, so I’ve been told<\/em><\/p>\n

Every street is paved with gold<\/em><\/p>\n

And it’s just across the borderline<\/em><\/p>\n

And when it’s time to take your turn<\/em><\/p>\n

Here’s a lesson you must learn<\/em><\/p>\n

You could lose more than you ever hope to find<\/em><\/p>\n

\u00a0<\/em><\/p>\n

And when you reach the broken promised land<\/em><\/p>\n

Every dream slips though your hand<\/em><\/p>\n

Then you’ll know it’s too late to change your mind<\/em><\/p>\n

‘Cause you pay the price to come this far<\/em><\/p>\n

Just to wind up where you are<\/em><\/p>\n

And you’re still just across the borderline<\/em><\/p>\n

Recently, I heard conservative documentary filmmaker Dennis Michael Lynch opine on a Philadelphia morning radio program that the clear evidence for a conspiracy to transform this country for the worse from within was to be found in the fact that his local high school, for the first time, would be playing soccer as its homecoming game rather than football. Soccer<\/em>, he emphasized with mockery, and then lamented, without irony, that this represented an assault on the sacrifices of those who died on the battlefields<\/em> of the American Revolution. And then, he shed crocodile tears of indignation that his positions on the issues could somehow be unfairly regarded as either heartless or motivated by racial animus. It was a fairly stunning set of remarks.<\/p>\n

Revisiting Tony Richardson\u2019s film The Border<\/em> is a powerful riposte to that kind of inanity; it is a film that meditates on the problem of illegal immigration in a more mature fashion, and does so in ways that are vastly superior to and more nuanced than much of today\u2019s angry, paranoid, and craven\u00a0discourse\u2014and it achieves that through the mechanics of a strongly character-based, formula thriller that boasts one of the most underrated performances given by one of our most treasured living actors.<\/p>\n

\"the-border-1982-jack-nicholson-hat\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Director Tony Richardson’s 1982 film “The Border,” which stars Jack Nicholson in one of his most underrated performances, has a lot to offer to anyone looking for a mature drama about the crisis that has once more taken command of our public discourse. <\/p>\n","protected":false},"author":20,"featured_media":43216,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[11],"tags":[1528,5588],"coauthors":[5441],"class_list":["post-43212","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movie-articles","tag-1980s-movies","tag-movie-reviews"],"yoast_head":"\nThe Border (1982)<\/title>\n<meta name=\"description\" content=\"The Border, the 1982 film by director Tony Richardson starring Jack Nicholson and Harvey Keitel is reviewed by the classic movie blog\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.moviefanfare.com\/?p=43212\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Border (1982)\" \/>\n<meta property=\"og:description\" content=\"The Border, the 1982 film by director Tony Richardson starring Jack Nicholson and Harvey Keitel is reviewed by the classic movie blog\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.moviefanfare.com\/?p=43212\" \/>\n<meta property=\"og:site_name\" content=\"MovieFanFare\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/pages\/Movies-Unlimited\/88679322377\" \/>\n<meta property=\"article:published_time\" content=\"2014-07-25T10:00:49+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-01-13T06:36:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.moviefanfare.com\/wp-content\/uploads\/2014\/07\/the-border-1982-feat-img.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"300\" \/>\n\t<meta property=\"og:image:height\" content=\"200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"George D. 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