User Reviews (8)

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  • I watched this movie because I like the simplicity of the older westerns. I also found this plot a little too simple. Even so, the rough-and-tumble action of the movie and the abruptness of the scene edits made it rather amusing.

    I think that finding "undercurrents of gay subtext" in this movie is reading far too much into it. As a young man I wrestled with other young men (yes, even shirtless!), engaged in some good natured rump slapping, as athletes often do, and even wore shirts not fully buttoned. But anyone who thinks that any of us had any leanings toward being gay is not the brightest light in the marquee. That's really funny!
  • JohnHowardReid12 August 2017
    Warning: Spoilers
    Producer: Irving Briskin. Executive producer: Harry Cohn. Copyright 18 August 1931 by Columbia Pictures Corp. No New York opening. U.S. release: 15 September 1931. 6 reels. 62 minutes

    SYNOPSIS: Assuming the identity of a notorious outlaw called the Pecos Kid, a Texas Ranger crosses the border into Mexico to infiltrate a gang of marauders who shot down his younger brother.

    NOTES: Re-made by Ken Maynard as "Whistlin' Dan" (1932), and again by Jones as "The Fighting Ranger" (1934).

    COMMENT: Pacily directed by Louis King (brother of Henry King), this is a most appealing outing which pits our muscularly sardonic hero Buck Jones (doing his own fighting and stunting here, even if the effect is a little undermined by obvious camera under-cranking) against two of the best heavies of the year. Mason (no relation to the English super-star, but I bet some idiot computers have already got their credits inextricably mixed) was usually cast in small roles as a treacherous worker or friend. Here he essays the chief villain most ably, brilliantly assisted by Louis Hickus, whose wonderfully thuggish face and brutal manner contrast superbly well not only with Mason's blandly perfidious deviltry but with the handsomely clean-cut Jones.

    Mind you, Buck is not your conventional Gene Autry-Roy Rogers splendiferous hero. True, he rides a nice white horse (which fact proves important in the climax), but he doesn't dress up as a lily-handed dude and he doesn't mind knocking off a glass or two of hard liquor. He also has more than an eye for the ladies. And here again, he breaks western tradition, for though Lupita Tovar is a spirited lass — intelligent too — she's somewhat short of Hollywood's usual ideals of feminine beauty. In other words, the whole atmosphere, scenery and characters in "Border Law" are grounded firmly in realism.

    The movie's only tip of the sombrero to "B" western conventions, lies in the hero's choice of a sidekick. A grizzled veteran soon became de rigeur for these roles, but in 1931 the tradition was not yet set in concrete. What's more, Rice is handed some neat lines and plays the part most effectively.

    By "B" standards, the budget is expansive. Sets and locations are forcefully utilized. In fact, technical credits are so smooth, especially in the use of music and sound effects, it's hard to believe the movie was made as early as 1931. And as for the marvelous editing with its brilliant cross-cutting at the all-action climax, — full marks indeed!
  • I noticed there were comments both ways about possible gay subtext in this film. Well, as some of the gayest looking scenes occurred between characters who were brothers in the film, I don't think that there really is that much in it that could be interpreted as gay. But there is one scene where a guy tells Buck Jones and his rival to take off there clothes and have at it--that is pretty gay! So, I'd say both reviewers have a point--and the truth seems somewhere in the middle.

    As far as the rest of the film goes, aside from a couple remarkable things (the romance and the stunts), this is a completely ordinary and unremarkable film. Plus, the acting is occasionally quite stiff and clumsy. As far as the romance goes, back in 1931, it was a much more bigoted world. So, having Buck fall in love with a Mexican lady was unusual. Also, towards the end of the film, several stunts (especially the guy seamlessly grabbing his friend while on horseback) were amazingly good.

    The plot is about what you'd expect. A gang is operating at the border with Mexico and keep crossing back and forth to avoid capture. After Buck's brother is murdered by them, he vows to destroy them and goes undercover. I've seen a ton of old B-westerns and this plot is very, very familiar. Not bad--just not all that good either.
  • Warning: Spoilers
    Don't play the "Oh yeah?" drinking game while watching this film. Even before you get to the end of the first reel, you'll be smashed. The clichés of this Columbia B western are obvious with Buck Jones and his brother Don Chapman part of the rangers after James Mason's Smith gang. No, it's not THAT James Mason, just as the Harrison Ford and William Holden were not THE Ford or Holden whom film audiences know today. The gang kills Chapman so Jones, who was not around when that happens, does what he can to infiltrate the gang and brig them to justice.

    Along the way, he encounters sultry Lupita Tovar whom he steals a kiss from, and she playfully tells him that he'll pay for that. This upsets Jones' sidekick, "Pegleg' (John Wallace) who is threated by the presence of a woman as a threat to breaking up their adventures. This is your standard early 30's western, creaky yet having plenty of action, a bit of comedy and romance, but obvious that the bad guys are going to get theirs in the end. A passable time-filler, certainly better than the poverty row westerns coming out by the dozens, but no classic either.
  • In the time of "Brokeback Mountain" it is fun to look back over past epics of Western Machoness with undercurrents of gay subtext. Ultra manly, muscular, and handsome Jones is particularly fascinating now....given his slightly overstated wardrobe (big hats for a big man?)and seeming inability to ever fully button any of his shirts (or refrain from getting bare chested at least once a feature).

    Add in his butt slapping horseplay with the young actor playing his younger brother (complete with wrestling around with him when the kid is in only his underwear in the opening scene)and the bar brawl scene where Jones is taunted to "Strip Down and Go At It" (!) by the chief baddie who succeeds in getting our hero to undress and roll around the dirty floor with a particularly hunky if nasty junior bad guy....and the subtext is much more genuine than Jones' ever so stiff and courtly flirting with Lopita Tovar...

    Purists will scoff....but there is no denying the overtones that were probably innocent then...but seem pretty overt now.
  • "Border Law" (1931) with Buck Jones, Lupita Tovar, Jim Mason, Frank Rice, Don Chapman, John Wallace, Lou Hicks, and others is a superb early "B" Western made probably on an "A-" budget at Columbia Pictures. Jones was really at his acme here, and though the picture is filled with what are now seen as dusty clichés, this was the early foundation days for many of them. Jones' plays a ranger whose younger ranger brother (Chapman) and another ranger (Rice) are assigned along with Jones to go after the notorious Shag Smith (Mason) and his gang, a bunch of ruthless bank robbers and killers. Chapman happens to be in town when the gang rides in to intimidate the town prior to planning to rob the bank. In the process they kill Chapman. Jones forms a stratagem to capture the gang in revenge. He "resigns" his ranger commission, as does Rice, and now Jones becomes the notorious "Pecos Kid", wanted for $2500, dead or alive. Meanwhile, he's met Lupita Tovar, a fiery girl from south of the border, a real spitfire. Jim Mason as the baddie was as good as it gets at being bad in these "B" Westerns, and he's equal to Jones here as a watchable cuss, as are Rice as Jones' partner and Lou Hicks as a scar-faced "Dave", a former prize fighter gone way, way bad. Tovar's a pip. Good show! If you're a Jones Western fan, saddle up! You'll appreciate the superb stunts, though today's watcher will be put off a bit by the speeded up horses in some of the chases. It wasn't necessary, and it spoils the verisimilitude a great deal today.
  • januszlvii16 December 2018
    Warning: Spoilers
    I really enjoyed this movie. What makes it different is the relationship between Texas Ranger Jim Houston ( Buck Jones) and Tonita ( Lupita Tovar). It is not the fact that Tonita's character is Mexican, but that Lupita herself is Mexican. The only other actresses I can think of from that era who were Mexican and were in Hollywood were Lupe Velez and Delores Del Rio, so having a Mexican play a Mexican helped with the authenticity of the movie. Lupita dominates every scene that she is in from comedy, to singing, to dancing to romance. The story involves Jim first meeting Tonita as she is leaving town and he drops her suitcase and when she gets mad he steals a kiss from her. Then he has to go undercover in Mexico as "The Pecos Kid" to infiltrate the gang who murdered his brother, so they can go back to the US to be prosecuted for the crime. But who does he run into there? Tonita. But she goes along and says he is "The Pecos Kid" instead of giving away he is a US Marshal, proving she really likes him. How much? There is one scene where she sings a song for him and asks "When are we leaving?" Spoilers ahead: Jim is able to defeat the bandits and yes, Tonita is going back with Jim to America and living " Happily Ever After" instead of her dying or Jim remaining in Mexico which was a nice touch. Again a good movie made outstanding by the presence of Lupita Tovar. 10/10 stars.
  • People in the 21st century implying 'gay' in this movie are simply seeing what they want to see.

    B movies were made for the younger audiences, and moral positivity was foremost.,