Border Incident (1949) - News Poster


Video Essay. Under His Skin: "Raw Deal"

  • MUBI
The 26th entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi is showing Anthony Mann's Raw Deal (1948) October 26 - November 25, 2017 in the United States as part of the double feature Anthony Mann Noirs.Few film critics intend the same thing when they invoke abstraction in cinema. For some, the reference is to the purity of abstract painting, and its extension into experimental cinema; for others, it points to those moments in otherwise narrative films (such as Michelangelo Antonioni’s) when plot and characters momentarily fall away, and textures or settings surge into the foreground. For some, abstract cinema is Stan Brakhage; for others, it’s particularly kooky action movies where nothing makes much logical sense and so “pure film” takes over. Watching the remarkable series of works forged by the collaboration of director Anthony Mann and cinematographer John Alton—including T-Men (1947), Raw Deal
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‘T-Men’ is a serviceable if not especially memorable combination of procedural and thriller


Written by John C. Higgins

Directed by Anthony Mann

USA, 1947

Two Treasury Board inspectors, Dennis O’Brien and Tony Genaro (Dennis O’Keef and Alfred Ryder, respectively), are sent to Detroit for undercover duty that the Board hopes will smash a nationwide counterfeiting operation. After adopting aliases and studying the Detroit crime scene, they make their way to Motown and, under the guise of former members of a now-defunct gang, infiltrate a high-end gangster’s outfit pretending to look for jobs. Upon learning that The Schemer (Wallace Ford), next in line in the food chain, operates out of Los Angeles, the duo split up with Dennis flying off to the West Coast to pursue the investigation. Of course, the closer the undercover T-Men get to the bottom of the operation, the greater the risk to their mission as well as their very lives.

A long forgotten sub-genre of film noir,
See full article at SoundOnSight »

Director & Actor Teams: The Overlooked & Underrated (Part 1 of 2)

Cinema is a kind of uber-art form that’s made up of a multitude of other forms of art including writing, directing, acting, drawing, design, photography and fashion. As such, film is, as all cinema aficionados know, a highly collaborative venture.

One of the most consistently fascinating collaborations in cinema is that of the director and actor.

This article will examine some of the great director & actor teams. It’s important to note that this piece is not intended as a film history survey detailing all the generally revered collaborations.

There is a wealth of information and study available on such duos as John Ford & John Wayne, Howard Hawks & John Wayne, Elia Kazan & Marlon Brando, Akira Kurosawa & Toshiro Mifune, Alfred Hitchcock & James Stewart, Ingmar Bergman & Max Von Sydow, Federico Fellini & Giulietta Masina/Marcello Mastroianni, Billy Wilder & Jack Lemmon, Francis Ford Coppola & Al Pacino, Woody Allen & Diane Keaton, Martin Scorsese & Robert DeNiro
See full article at SoundOnSight »

Friday Noir: Clandestine migration is anything but incidental in ‘Border Incident’

Border Incident

Directed by Anthony Mann

Written by John C. Higgins

U.S.A., 1949

The Mexico-United States border has long been the subject of controversy when discussing the arrival of those described as ‘illegal aliens,’ desperate individuals from Mexico who traverse the border without proper permission in the hopes of finding some work and money to send back to their families, while others hold to grander notions of completely starting anew. Whatever their reasons, those who venture illegally into the United States put themselves at risk, not merely of the border patrol forces, but also of the employers who willfully take advantage of their fragile state. In Border Incident, workers who slaved away in the agriculture fields in Imperial Valley are slaughtered as they traverse shadowy, rocky valleys at night on their journeys back to Mexico. In a joint effort to cease the abuse and to put the ‘law’ back
See full article at SoundOnSight »

Friday Noir: Overflowing with so much action and fine acting,’Desperate’ is anything but what its title suggests


Directed by Anthony Mann

Screenplay by Harry Essex

U.S.A., 1947

One of film noir’s strongest, most unique qualities is its malleability. A film which fans and scholars deem as part of the genre need not be especially violent, nor especially thrilling, nor especially long, nor especially short, etc. Despite that so many take pleasure in listing the many ingredients they deem ‘essential’ for a movie to be described as noir, the reality is that the possibilities to play around with the elements allows for remarkable freedom for writers and directors. Anthony Mann is a name that should be very familiar with any self described noir buff, having directing more than a handful, among them brilliant gems such as Side Street and Border Incident. Much like in the latter of the the two mentioned pictures, the director takes noir by the horns and creates a sharp, tough story
See full article at SoundOnSight »

Friday Noir: ‘Side Street’ runs on bustling energy from start to finish

Side Street

Directed by Anthony Mann

Screenplay by Charles Schnee

U.S.A., 1950

There is a favourite saying used among film reviewers when espousing the virtues of a film that uses the story’s locale to the full extent: location ‘x’ is a character in of itself. While an admittedly clever term, it has been slightly overused in recent years to the point where it seems that just about any film’s geographical setting can be deemed a figurative character. Rare are the movies for which a director will take that saying to heart to the extent that the location actually feel like its own character, perfectly complementing the overall picture. Anthony Mann is one such director, whose stunningly brings Manhattan, the city that never sleeps, to life in Side Street.

Struggling through life as a part-time mail carrier, Joe Norson (Farley Granger) is not the most accomplished fellow in the world.
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Shadows of Film Noir: He Walked by Night

Shadows of Film Noir: He Walked by Night
He Walked by Night was a "B" movie released by Eagle Lion Films in late 1948 and early 1949. The credited director is Alfred L. Werker, but no one disputes that the actual director is the masterful Anthony Mann (who apparently took over production soon after it was begun). The movie was part of a series of increasingly accomplished noirs by Mann, including Railraoded! (1947), Desperate (1947), T-Men (1947), Raw Deal (1948), and Border Incident (1949). It's my favorite of the series; it manages to perfect the "docudrama" style begun in T-Men and Raw Deal, and it contains some of the most striking cinematography of the decade, creating a gripping combination of procedural and suspense. There are public domain videos available, but MGM/UA released on a good, quality DVD in 2003, which is still in print.

What It's About

A patrol cop is on his way home when he stops a suspicious man (Richard Basehart) on the street.
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James Mitchell obituary

Dancer and actor known for his role in the American TV soap opera All My Children

There are legions of actors who are deeply grateful for the existence of long-running television soap operas. James Mitchell, who has died aged 89, was one of them. He enjoyed playing the wily patriarch Palmer Cortlandt in the popular Us daytime soap All My Children from 1979 to 2008. It came at the right time in his career. At 59, his dancing days were over and his film acting had failed to catch fire.

The majority of loyal fans of All My Children were probably not aware that the debonair, grey-haired Mitchell, still svelte and handsome, had been a leading dancer for many years, particularly associated with the celebrated choreographer Agnes de Mille. According to De Mille, Mitchell had "probably the strongest arms in the business, and the adagio style developed by him and his partners has become
See full article at The Guardian - Film News »

TCM Tribute to Ricardo Montalban

Ricardo Montalban passed away Wednesday, January 14, at the age of 88. Lorenza Muñoz has written a fine obituary and career overview for the L.A. Times, accompanied by a fantastic photo gallery. Claire Dederer and Bruce Weber have done the honors for the New York Times. Both obits acknowledge Montalban’s contributions to stage and screen, as well as the opportunities created for Latinos by way of his activism. His performance in the film noir classic Border Incident remains one of my all-time favorites as, of course, is his characterization of Khan Noonien Singh, arch nemesis to Star Trek‘s Captain Kirk.

Turner Classic Movies (TCM) will dedicate the entire daytime lineup for Friday, January 23, 2009 to pay tribute to Montalban. The collection features musical pairings with Esther Williams in Fiesta (1947) and Neptune’s Daughter (1949), as well as dramatic roles in Border Incident (1949) and Battleground (1949).
See full article at Screen Anarchy »

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