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13 out of 15 people found the following review useful: South of the border, 26 June 2005 Author: jotix100 from New York
Archie Mayo's "Bordertown" is a film that by today's standards would be deemed politically incorrect. The idea of the poor Mexican immigrant that wants to better himself, only to see people step all over him, is at the center of this tale.Juan Ramirez, the young lawyer, trying to defend the victim of an accident caused by the young and reckless Dale Elwell, is defeated by a much more experienced Anglo lawyer, who happened to know the system and the judge, obviously. As a result, Juan, decides to leave L.A. to go to a border town, probably Tijuana, where he becomes a partner of Charlie Roark, a decent man who sees the potential in Johnny, as he calls himself now.What Charlie doesn't know is that he is married to a scheming woman that couldn't care less for him. She has to get rid of her husband in order to get her hands on his money and looks to Johnny to help her, but of course, he wants nothing to do with her.Paul Muni was a great star at Warner Bros. at the time of this film. We were never fans of Mr. Muni, who in this film gives a clichéd account of the Hispanic Juan in a performance that goes over the top and doesn't convince anyone. On the other hand, Bette Davis, as Marie Roark, is her usual excellent self in a more nuanced performance. We see why later on, Ms. Davis will use all what she shows in this film and more to be the great star that she was. In minor roles, the formidable Eugene Palette plays Charlie Roark and Margaret Lindsay is seen as Dale Elwell, the rich girl that provoked the accident.This film is a rarity seldom seen these days.
6 out of 9 people found the following review useful: Follow-up to Bondage, 6 December 2004 Author: dgibsonia from Texas
Confronting Muni in one scene, Davis suddenly so forcefully expels cigarette smoke from her nose that she looks like a cartoon bull about to charge. But though it's funny, it's not ludicrous: it's one of those startling, inspired B.D. moments.Warners cast Davis in "Bordertown" when it became apparent that her just-completed loanout to RKO for "Of Human Bondage" was not going to wreck her career, as Warners had feared. Instead, as Davis had gambled, the risky "Bondage" had been her breakout performance. "Bordertown" was a worthy follow-up, with Davis just as compelling as the obsessor rather than the obsessee.
1 out of 1 people found the following review useful: Smoldering Anger Against Racism, 11 October 2009 Author: bkoganbing from Buffalo, New York
Although Paul Muni does go over the top a bit in Bordertown, the film remains a savage indictment of racism, concentrating as it does on the struggles of one man in a racial/ethnic minority to find a place in this society.In a biography of Paul Muni I read that he deliberately hired a Mexican driver who stayed with him for several weeks so he could copy his mannerisms and get down the proper speech pattern. He didn't do half bad as Johnny Ramirez, the disbarred attorney who turns to the dark side.The story has Muni bright and eager to start making a living as a lawyer and please his mom Soledad Jimenez who sacrificed a lot so her kid could study law. But in his first appearance in court he loses his temper and manages to get himself disbarred. Had this been a white attorney, I assure you he might have gotten a slap on the wrist and a censure, but not a disbarment. Broken in spirit, Muni ends up working for Eugene Palette at a road house as a bouncer.He also catches the eye of Palette's wife played by Bette Davis. But Muni has eyes for Margaret Lindsay, a society girl who likes to go slumming. In the end both women disillusion and betray him.Bordertown is one of the darkest films of the Thirties, the future is by no means clear for Muni. Though he does overact a bit, you will not forget the smoldering anger that he brings to the part of Johnny Ramirez. This was the second of two films in which Paul Muni played a person of Mexican background. The other was Juarez and there is 180 degree difference between the angry Ramirez and the stoic Juarez. You can hardly believe it's the same actor, but Muni had one incredible range as a player.This is a film that could probably stand a remake. I could see someone like Benjamin Bratt or Lou Diamond Phillips in an updated version as Johnny Ramirez, possibly Edward James Olmos. It was in fact made over in part by Warner Brothers in They Drive By Night. But the Mexican heritage and a great deal more was not included in that film.Until then I recommend Bordertown highly
1 out of 1 people found the following review useful: Politically incorrect, but Bette's star is on the rise, 4 October 2009 Author: blanche-2 from United States
"Bordertown" is the story of a Mexican attorney, Johnny Ramirez, and his fight to make something of himself and realize the American dream. Who better to portray him than the Jewish Paul Muni. After physically attacking another attorney during a disastrous court appearance, Johnny becomes a bouncer in a nightclub. However, his brains, ability, and negotiation expertise come to the attention of his boss, Roark (Eugene Palette), who agrees to bring him in as a partner. Johnny has also come to the attention of Marie Roark (Bette Davis), the restless wife of the boss, and she throws herself at him. Johnny, however, has fallen for Dale (Margaret Lindsay), a socialite. Marie kills her husband, and when he rejects her again, she tells the police that Johnny killed Roark.Paul Muni was an excellent actor whose style of acting is perhaps dated by today's standards. He could disappear into his roles, often to great effect, but unfortunately, he doesn't disappear enough into Johnny Ramirez. His portrayal is over the top and his accent is bad. The standout is Bette Davis, young and pretty, as the unstable wife. Just off her great success in "Of Human Bondage," which was a loanout by Warners, she demonstrates here how well she takes charge of the screen.Most of the characters are pretty stereotypical. "Bordertown" is badly dated but worth seeing for its early Bette Davis performance.
2 out of 3 people found the following review useful: "Bordertown" evokes memories of "They Drive By Night"..., 7 May 2009 Author: Neil Doyle from U.S.A.
PAUL MUNI with dark make-up and an Hispanic accent is a hot-blooded Mexican lawyer who turns to a different sort of life when his career as a lawyer leads nowhere. He works for EUGENE Palette in a gambling joint and is soon the jovial man's partner. On the sidelines watching him is BETTE DAVIS, in one of her early femme fatale roles, a bleached blonde whose advances toward Muni are promptly rebuffed.A sub-plot involving Muni's romance with a society girl (MARGARET LINDSEY) is really rather predictable, especially when she flirts with him from the start and then turns on him when he becomes serious, flinging words at him like "savage" and "brute" and telling him to stay with "his own tribe." The script resolves this ill-fated affair in an abrupt manner before the fade-out.The highlight of the drama is Bette Davis turning on Muni too, on the stand, declaring that he conspired with her to kill her husband, when in fact she is the guilty one. She goes to pieces on the stand, allowing us a Bette Davis moment that was an indication of the kind of actress she was on the verge of becoming.Frankly, this whole story bears a strong relationship to another tale Warners produced in '41 with Ida Lupino as the stressed out woman filled with guilt over the murder of her husband. Lupino was even more impressive in her mad moment than Davis. In fact, the whole picture was smoother and produced with more polish than this similar version using some of the same story elements.Summing up: Intense drama suffers from Muni's overacting as the Mexican lawyer and a script that doesn't develop the wife's character sufficiently to lead to her mental breakdown. A better version is THEY DRIVE BY NIGHT ('41)with George Raft and Ida Lupino and Alan Hale as the hubby she wants to get rid of.
3 out of 5 people found the following review useful: To Hollywood, furriners is furriners, 9 May 2009 Author: Michael Morrison (morrisonhimself@consultant.com) from Arizona
Paul Muni was an East European Jew, so naturally he was cast as a Hispanic Californian.Well, heck, to name just one, Leo Carrillo, a native Hispanic Californian, was cast as everything from Greek to French to Italian to Latino, and so many other "ethnic" actors played various nationalities besides their own heritages.Muni apparently wore dark makeup for this role, but it wasn't a stereotype; it was, in fact, a very sympathetic character.Bette Davis never looked lovelier. For years, I have tried to spread my conspiracy theory that she was not made up, but made down, that she was, in fact, a very lovely lady and the Westmore family apparently had it in for her and put the make up on in such a way that her looks were coarsened, and she was aged long before her time.She was such a great actress that her looks didn't matter, but she was very attractive and I find it a shame she wasn't allowed to show her natural beauty.The female, though, who stole this movie, both in looks and in animated characterization, was Margaret Lindsay. She was absolutely fascinating in this role as spoiled rich girl, an almost good guy. In fact, she made this movie worth seeing.The presence of a genuine Hispanic, Soledad Jiménez, gives one pause to wonder why more genuine Hispanics weren't cast in movies like this. She was just great.The ending was rather puzzling, perhaps a sop to somebody's nativism, but the story was a good one, the acting was generally great, and all of that, with Archie Mayo's directing, make this one worthwhile.
The Production Code Asserts Itself, 23 October 2009 Author: dougdoepke from Claremont, USA
As a poor Mexican-American boy, Muni labors to get a night-school law degree, but can't make a professional living in such a poor neighborhood. Ambitious and tough, he works his way into heading a gambling casino. Though a financial success, he loses his way in a white- dominated social world.It's 1934 and the notorious Hollywood Production Code has just kicked in. Few studios were more affected than Warner Bros., the home of the uncompromising gangster films of Cagney, Robinson, and Muni. There are elements of the typical rags-to-riches gangster theme in this movie, but the tone and content have altered from the pre-Code product. Note the complete absence of gunplay, dead bodies, brutality, and other staples of such pre-Code classics as Public Enemy (1931), Little Caesar (1931), and Scarface (1932).Technically, this is not a gangster movie-- Muni may be shady, yet he's no criminal. But that too, I believe, results from trying to get right with the new Code. Note how business rivals try to buy out Palette's casino instead of just muscling-in in classic gangster fashion. And though the girls sport some pretty revealing gowns, Muni refuses Davis's overtures, while remaining unclear on his relationship with Lindsey. Such compromises likely result from the producers not wanting sexual relationships to cross racial lines. Contrast this with the strong hints of incest, no less, in the free-wheeling Scarface.In short, the movie has the trappings of a gangster film, yet departs in ways that I think are traceable to the newly installed Code. Among others, the new strictures were supposed to end public enthrallment with the underworld by deglamorizing it. Thus, Bordertown lacks many of the risky elements that made Warner Bros. such a riveting and dynamic studio during its classical period.Now, this is not to say the movie is without interest or entertainment value. It took some guts to make Muni's central character a Mexican-American and cast him in a sympathetic light. In fact, the only thoroughly dislikable character is Lindsey's snobbish white boyfriend (Manville). At the same time, I agree with others who think Muni's performance is too florid, along with an accent that sort of comes and goes. He looks the part, but never gets past the impersonation stage. On the other hand, Davis's one scene of nervous frustration while alone in a room is a little gem of mounting hysteria, and makes me appreciate how well she emoted with her expressive eyes. However, it's Margaret Lindsay who walks off with the movie, at least in my view. Her devious upper-class lady is compellingly natural and unaffected, an interesting contrast to Muni's undiluted staginess.Anyway, the movie may be a come-down from Warner's pre-Code product, but still includes a couple of good twists (e.g. the first courtroom scene). It's also worth a look-see for anyone interested in the evolution of the gangster movie.
On the way out stop at the bar and I'll buy you a drink, 24 September 2009 Author: sol1218 from brooklyn NY
*** This review may contain spoilers ***
(There are Spoilers) Having studied for five years to get his law degree self-confident in his ability in to practice law Johnny Ramirez, Paul Muni, gets the shock of his short professional career as a small time lawyer when he ends up belting defense lawyer Brook Manville, Gavin Gordon, on his first case. Manville's client he filthy rich and beautifully bread Dale Elwell, Margaret Lindsey, was charged with drunk driving in her demolishing Johnny's friend's Manuel Deago, Arthur Stone, pick-up truck. Made to look like a fool by Manville, with his staling and double-talk tactics, Johnny realized, after clobbering the snide and condescending Manville, that law wasn't his cup of tea and checked out of town,L.A, looking for a new profession. It didn't take long for Johnny to find employment at the Silver Slipper Casino on the Mexican/US border as a bouncer and later manager of the gambling establishment.Feeling that he's worth a lot more then what his boss Charlie Roak, Eugene Palette, is paying him Johnny ends up owning 25% of the gambling joint with Charlie more then willing to give it to him. As things turn out Charlie's scheming wife Marie, Bette Davis, sees in Johnny a meal ticket and tries to make a play for him. Not falling for Marie's poor little girl, who's needs a lot of lovin', act Johnny is very keen to Marie and refuses to betray his partner Charlie in having an illicit affair with her. It may also be that Johnny wasn't all that attracted to Marie in how cheaply she handled herself as well as how unstable she was.One evening at the Silver Slipper when Charlie is dead drunk Marie drives him homes and in a flash see the golden opportunity that she's been looking for. Locking the drunk and unconscious Charlie in the garage Marie leaves the motor running which results in,from carbon monoxide poisoning, Charlie's untimely death but in reality cold blooded murder on Marie's part! With Johnny now in complete charge the Silver Slipper really takes off and eventually expands into the new and high class La Rueda nightclub. On opening night at the La Rueda Dale just happens to show up and Johnny being secretly in love with her starts to make a play for Dale. This all doesn't go too well with the jealous and spiteful Marie who, in a fit of total madness, tries to pin her husband Charlie's death on Johnny not as an accident, as the local court declared, but murder! A murder that Marie, not Johnny, committed!***SPOILERS*** Johnny was in for the fight of him life in defending himself against Marie's charges but in the end it was her not Johnny who cracked under the pressure. Completely failing apart on the witness stand Marie ended up looking like she was hit by four ten ton trucks, from different directions, as she was trying to cross a busy intersection! Now a free man and wanting to marry his one and only love Dale Johnny gets the surprise of his life. Not only isn't the blue-blooded Dale Elwell interested in the non Waspy Mexican/American johnny Ramariz she also feels that he's in no way good enough for her and the crowd that she hangs with! Finally seeing the light, this after another major shock hits him, Johnny goes back home to L.A to practice law for his own people, Mexican/Americans, who both appreciates both him and the services that he, sometimes free of charge, provides for them.
2 out of 4 people found the following review useful: A Muni Mistake, 15 November 2006 Author: theowinthrop from United States
It is interesting to see how a reputation that was once high can tumble to later generations - somewhat unfairly. Paul Muni was not a poor actor. In his best work (SCARFACE, JUAREZ, LIFE OF LOUIS PASTEUR, WE ARE NOT ALONE) his work remains quite substantial in it's effectiveness - he was no mean actor. But when he got hammy....then the knives are our for him. One example is Joseph Elsner (Chopin's music teacher and friend in A SONG TO REMEMBER). Another is Johnny Ramirez in BORDERTOWN.One can make an excuse for Muni playing a Mexican hero like Benito Juarez. In the 1930s Warner Baxter played the Cisco Kid and Joaichim Murietta and Wallace Beery was a memorable Pancho Villa. But these figures were presented as heroes - there was a degree of sympathy in these personalities. There was supposed to be similar sympathy for Ramirez, but Muni really blew it apart in the opening of the film.Johnny has just become a lawyer - and has just hung his license up. He gets a client (Manuel Diego - Arthur Stone) whose truck was destroyed in a car accident caused by a limousine driven by a drunken socialite (Dale Elwell - Margaret Lindsey). Johnny willingly takes the case, but he is a terrible lawyer (and, to tell the truth, anyone seeing this performance would think Muni is a terrible actor - the scene in the court is the worst overacting). Johnny not only loses to the professional competence of Elwell's attorney, but the disgusted judge tells him that he is going to request that the state bar association take back Johnny's license. He is disbarred and humiliated. But he subsequently starts working for Charlie Roarke (Eugene Palette), a jolly and good natured man who has a roadhouse with gambling.The plot is that Roarke's wife Marie (Bette Davis) meets Johnny, and falls for him (not hard - he's a romantic Mexican, and look at jolly but short, fat, and old Chalie). But Johnny is not interested. He's loyal to Charlie, and he's met Dale again. At first she makes fun of the ex-lawyer, but she starts enjoying "slumming" with him. But he's more serious.Marie suddenly gets the idea of getting rid of Charlie. When they return home from a party, he's totally drunk. They are in the garage of their home, and she realizes that if she leaves the gasoline motor on and closes the door on Charlie - well, it's goodbye Charlie! So it works out, and now she thinks that Johnny will be easy to get. But he's not...and in a moment of anger she confesses the murder and says that Johnny was her co-conspirator.You may sense several points here: 1935 was the year Thelma Todd died in a still mysterious death connected to her having carbon monoxide poisoning in her closed car garage like Palette did. I don't know which of the two events proceeded the other. Secondly, the situation between Davis and Muni is a model for the similar relationship of Ida Lupino and George Raft in THEY DRIVE BY NIGHT. In fact the death of Palette is a model for the same death for Alan Hale Sr. in the latter film. And the denouement in the trial court is identical too.SPOILERS COMING UP! Both Davis and Lupino suffer mental collapses on the witness stands, revealing their own guilt but accidentally saving Muni and Raft. Raft is able to pick up the pieces with Ann Sheridan in THEY DRIVE BY NIGHT. Muni is less lucky. Running from him when he reveals his desire to marry her, Lindsay is run down and killed by a car. The effect is overdone by Muni looking so horrified one wonders if he is actually witnessing the sinking of the Titanic! Or maybe he was thinking about his really bad performance in this film.
3 out of 6 people found the following review useful: Bette as Femme Fatale, 15 May 2006 Author: nycritic
Talk about a politically incorrect movie. BORDERTOWN has German-born actor Paul Muni playing Mexican, in a made-up tan and fluctuating "accent". Although this isn't the worst of it -- hardly -- as much as when Margaret Lindsay, Warner Bros. reliable secondary leading lady, tells him off near the end just before she gets creamed by an oncoming car off-screen that he's a "savage brute" who belongs to "another tribe". Being Latino, I found myself a little bemused instead of bothered by these lines, but I'm aware of how the times were back then and Hollywood has always found itself playing catch-up with other cultures. One only has to see how wrong and off the mark the industry was in portraying Blacks and Asians on camera to get the point. Anyway, the story of a Mexican lawyer who gets involved with a murderous female while having his own attraction to a patrician socialite (Lindsay) is a better than average crime-drama that would be remade less than ten years later as THEY DRIVE BY NIGHT. Made at around the time that OF HUMAN BONDAGE had been released, Bette Davis manages to out-act Paul Muni in her portrayal of a very wicked woman with little to no scruples, but despite her manic energy on screen and the blackness of Marie Roark, she remains fairly suppressed down to the moment her character spins out of control in a key scene. Her rendition of a femme fatale is less bosomy, less hushed, but close to a she-dog able to commit an act of horror for the love a man she can't have.
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