Cristi_Ciopron It has to be its lighthearted style that makes it so lovable. It begins as a drama, with the impressive presences of the trio of players, Burr's swagger, in that early scene when the undercover policewoman shoots the smuggler, then it switches to an action comedy, there's a humorous overtone throughout, even before and during the dramatic setup, with her attempts at luring the smugglers and gaining their confidence, at 1st the undercover copper plays 2nd lead to her, and then it's her turn to play 2nd lead to him, anyway the romance, late screwball, was masterly handled by players and director. It's a 'mission movie', also a 'chase movie' (undercover coppers being chased by the smugglers), which implies both road movie and buddy movie, and it has the asset of starting with the policewoman in the lead. The action doesn't rely on stunts, but on cheerfulness.She was a very refined actress, and all three players come across as believable. Burr also was sharply nuanced, even in a character role like this one. He resembled a bit M. Sheen, and had Scott's robustness and vitality, but also his own _insightfulness, and a commendable dedication to the trade.By the late '40s, many crime movies began depending on the Mexican exoticism. Here, the funniest Mexican gag is the Hispanic sheriff's household, mainly his daughter and the phone.The distilled action comedy requires nothing but style, and a serviceable one; here, there are very careful shots, and a respectable cast. A clever script would of been an extra bonus. An idea of a delightful movie, unpretentious and charming, fun for an evening, with a conventional script, but with the right way of blending crime movie and comedy, as the '30s odd insouciance had been forgotten. It has the simplest script.

dougdoepke Whatever the movie makers were aiming for, the film's mediocre, at best. Policewoman Haley is sent undercover below the border to break up a narcotics smuggling ring. There she finds a hulking ringleader (Burr) and a dubious companion McEvoy (MacMurray). So how will things work out once the getaway from Burr's brutal Ritchie starts.The trouble is the movie can't blend its threads effectively. Blame a sagging script and lackluster direction, particularly the uneven pacing and poor staging (the final shootout, especially). Then too, MacMurray appears unmotivated, walking through his part in atypically wooden fashion. He must have sensed something. Also telling is that Trevor's husband, millionaire Donald Bren, produced the project. At this point, Trevor's turned 40 and is apparently looking for a change of pace with a non-hardboiled role. Nonetheless, her rather cutesy approach never really registers as a policewoman. Ironically, that sort of role would ordinarily be a piece of cake for her tough-cookie persona. On the other hand, Burr really impresses as the hulking gangster. Prior to the Perry Mason gig, he made great movie heavies in more ways than one. Too bad he's not better used here.What I remember most, however, is the loony cabaret scene, when Haley steps out of the inept chorus line to entice Ritchie. For a moment I expected the Three Stooges to join in. Yes, it's that goofy. Anyway, in my little book the movie amounts to an unfortunate waste of a fine cast. Fortunately, both leads would go on to better things.

bkoganbing Borderline has the interesting premise that two government agencies have operators working the same case and neither knows anything about the other. If they did there would be no film called Borderline.According to a recent biography of Fred MacMurray the film was produced by Claire Trevor's husband Milton Bren and MacMurray was given a piece of the film in lieu of a salary. It doesn't look like to much was spent on production values so it probably made a profit for its investors who were also its investors.Trevor is with the LAPD and she's sent in looking for dope smuggler Raymond Burr while MacMurray is with the Feds and he's worked his way into the gang of rival smuggler Roy Roberts. Circumstance throws these two together as MacMurray takes Trevor for what she is, a wisecracking moll whom he starts to fall for. Nevertheless his duty is clear.Borderline is not quite an easy fit between film noir and comedy which both stars have done their share of. Nevertheless MacMurray and Trevor work well together. Borderline is the kind of film Fred might have done with Carole Lombard had she lived.Fans of this most underrated actor will like this film, Fred carried worse in his career.

writers_reign This is the kind of movie fading Hollywood stars used to come to England to make in the fifties and dire as they mostly were those British movies were light years ahead of this piece of cheese. All hands - director Seiter, writer Freeman and cast Trevor, MacMurray and Burr - had done much better stuff and all must have been equally desperate for any gig at all to take this on. To call it rickety is like calling the bridge at San Luis Rey a solid construction: The first ten minutes are squandered setting up Claire Trevor as an undercover Fed which is then negated by having Fred MacMurray appear out of left field with no back story and coming on like a hood. Everyone concerned seems to be playing in a different movie and chemistry between Trevor and MacMurray is minimal to non-existent. This should have gone straight to video - in Pluto.