Border Romance (1929)

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

This story has more twists and turns than a second-rate soap opera.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Producer: Lester F. Scott. Copyright 13 May 1930 by Tiffany Productions, Inc. New York opening at the Colony: 25 May 1930. U.S. release: 18 May 1930. 7 reels. 5,974 feet. 66 minutes. Print under review is the re-issue presented by Amity Pictures.SYNOPSIS: Bob Hamlin, his younger brother Victor and their helper Slim are horse-traders in Mexico. Their horses are stolen. Whilst pursuing bandits, they themselves are seemingly hunted by the rurales who want to question them about a tavern shooting in which a Mexican was killed. Bob still finds time to romance both Conchita, a diminutive yet spirited senorita, and Gloria, a bar-girl friend of the horse bandit; whilst Slim, who has saved some money, is vigorously pursued by his ex-wife Nina, a singer in the local cantina.NOTES: Movie debut of Marjorie "Babe" Kane (not to be confused with Helen Kane).VIEWER'S GUIDE: A fight between two wild stallions may disturb some people, but otherwise Border Romance is too quaint to offend.COMMENT: This remarkably curious film certainly whets our appetite for more of the same. By the standards of the independent early sound western, it is not only lavishly produced but technically quite accomplished. There are no odd cuts, washed out photography or other evidences of primitive sound recording. Zech's rich photography exhibits a nice range of contrasts, the film editing is reasonably deft, and the recording of the songs, whilst obviously dubbed, is still agreeably proficient.Even more curious is that the film belongs not to the William S. Hart and The Covered Wagon traditions of the silent western, but is firmly in the camp of Rio Rita and Girl of the Golden West. Not only do the characters break into incongruous if pleasing song at every likely and unlikely opportunity, but they play to each other as if they were acting on a stage. They project their voices with stage emphases, they exaggerate their facial expressions, and their movements are blocked out within invisible but still potent stage confines.This said, Armida makes a most attractive little heroine. Fans of "Babe" Kane will not be disappointed either, though she has only the one quick song, followed by a typically snappy dance. Don Terry is a bit wet as the hero, whilst Potel and Barry overact as his sidekicks — particularly Potel, though he does have one or two genuinely funny lines.If it's action and not song or comedy you're after, you will probably be a bit disappointed, despite the long shoot-out, riding- to-the-rescue climax. Which brings us to our final curiosity. It's an odd western indeed in which the comedy, romance and music are obviously regarded by all concerned as far more important than chases, fights and gun-play. In fact the songs are very tuneful indeed. Notice also that the music tends to play under the dialogue scenes whilst the action spots are left to the mercy of primitive sound effects.The director: Richard Thorpe had already directed over sixty western features before "Border Romance". A devotee of the don't-make-it- good-make-it-Monday school of film-making, Thorpe was noted for his celerity in printing takes that other directors would have described as less than perfect. Thorpe always believed that striving for perfection was a waste of money and time. Mr and Mrs Average Picturegoer didn't know and couldn't tell the difference between Thorpe's okay first or second take and William Wyler's masterly 37th or 49th. Usually his films are staged with reasonable vigor but little imagination. "Border Romance" is less vigorous but more imaginative.

This early effort by directorial jack-of-all-trades Richard Thorpe quickly shows its stripes as a musical-comedy western -- it opens with the Mexican army captain leading his cavalry in a cantering chorus that works very nicely.This is a western with a little bit of something for everyone, including a clip of Rex the Wonder Horse and Ladies' Day at the swimming hole. The songs are surprisingly fresh, Babe Kane is very funny as the distaff comic side kick, and there is pretty good camerawork, particularly in the dance scene. While not for everyone -- the stereotypes are hard to take if you forget for a moment this is a farce -- if you have any taste at all for this sort of thing, you will find it enormously entertaining.