Borderline is a fascinating film, although it is likely to only truly be enjoyed by film students. The only feature directed (and written) by film theorist Kenneth MacPherson, Borderline's fascination is intellectual; the film will not really engage most viewers, who will find its technical virtuosity cannot compensate for its willful obscurity and its lack of a clearly-told story. Indeed, taken as just a film, Borderline is not very good. The story, which is simple at base, is not told well, and the direction is far too concerned with cleverness and effect for their own sakes rather than in the service of drama. And while the cast is quite good, the direction -- which emphasizes lengthy shots whose dramatic function is unclear mixed with editing that is jarring and discomfiting -- mutes the impact of the performers, including even the intensely powerful Paul Robeson and his enigmatic wife, Eslanda Robeson. However, those willing to submit to Borderline on its own terms will find it filled with memorable images, striking compositions and edits and juxtapositions which make a tremendous impact. MacPherson was rebelling against the use of sound in films, and this silent film was his statement on film as a purely visual medium. It's not a successful experiment by any means, but it is a unique cinematic experience.
by Craig Butler
review
