User Reviews

Frances Farmer's second film is a typical B-programmer from the Paramount lot of 1936--up and coming stars (John Howard, Robert Cummings, Grant Withers, Farmer) in a largely forgettable and often laughable melodrama concerning the Coast Guard and smugglers. The chief points of interest are the truly exceptional aerial sequences and Farmer's early performance. While Paramount was still struggling with her "look" (note her huge hand-drawn eyebrows, for example), her film persona was already well on its way, including the haughty temperament which she displays in so many of her roles. Grant Withers provides some comic relief while John Howard provides Farmer's romantic interest. Not a great film by any means (or even a very good one), but essential viewing for any Farmer fan.

BORDER FLIGHT (Paramount, 1936), directed by Otho Lovering, is a routinely produced programmer about the United States Coast Guard, based on the story by Ewing Short. Heading the cast are Frances Farmer, John Howard, Roscoe Karns and Robert Cummings, but the sole attraction here is Grant WIthers, former leading man of early talkies, playing a conceited pilot who would rather abide by his own rules than those from his superiors. With formula reminiscent to other aviation themes of the period, namely a few by Warner Brothers featuring James Cagney and Pat O'Brien such as CEILING ZERO (1935), it's Grant Withers and John Howard acting out their parts in the Cagney and O'Brien tradition.

Set in San Diego, California, the story begins with Dan Conlon (John Howard) and Bob Dixon (Robert Cummings) being sworn in as United States Coast Guards by Commander Morsley (Samuel S. Hinds). Also among the Coast Guards is Pat Tarnell (Grant Withers), Dan's former school rival, who later interferes with his romance with his fiancee, Ann Blane (Frances Farmer). With the Coast Guard dealing with smugglers sneaking raw furs into the country, causing the death of young Dixon, Morsley is ordered to have these smugglers captured and arrested. As Pat and Dan are ordered to stop their rivalry, Pat continues to make his play with Ann, causing for his resignation from the service. Due to his dismissal, Pat goes against the Coast Guards siding and working for the smugglers instead. Also in the cast Donald Kirke (Fleming); Matty Fain (Jerry); Frank Faylen (Jimmie); Edgar Dearing and Emily Fitzroy. Roscoe Karns stands out as chief mechanic Calico Smith, who frequently recites in song to the old tune, "School Days."

For film scholars, the sole interest for viewing BORDER FLIGHT is the presence of Frances Farmer, rediscovered in the 1970s through two published books, "Shadowland" by William Arnold, and "Will There Really Be a Morning?" an autobiography by Farmer herself. This was followed by the motion picture, FRANCES (1982) wonderfully played by Jessica Lange, and a 1983 television movie, WILL THERE REALLY BE A MORNING? Starring Susan Blakely. Regardless of Frances Farmer's then newfound rediscovery, so few of her movies saw reissue on television. While William Arnold's 1978 publication of "Shadowland" labeled in Chapter 13 that no print of BORDER FLIGHT survives, it is far from that. At the time of his research on Farmer's life, BORDER FLIGHT was probably hard to locate for viewing. It frequently broadcast on New York City television on WPIX, Channel 11 between 1966 to 1972, usually on a one hour time slot with commercial breaks. At present, the only way to view Farmer's BORDER FLIGHT is to locate a DVD from a private collector, which is what I did.

Regardless of Frances Farmer's name heading the cast, she and Robert Cummings both have little to do, with much of the proceedings going to John Howard and Grant Withers. Though sources clock BORDER FLIGHT at 68 minutes, circulating jump cut 58 minute editions seem to be what's currently available. One moment Conlon and Dixon are watching Ann talking to another recruit before suddenly there is a pilot (Howard) in trouble with his airplane missing his landing gear, just to name a few. Even if BORDER FLIGHT can be viewed in its entirety, its photoplay plays fast helped by some well photographed action and aerial scenes. Maybe Farmer didn't care for this particular assignment, her second movie, but better roles lay ahead, namely COME AND GET IT (United Artists), her fourth, and final 1936 movie release, regarded by many to be her best motion picture. (** airplanes)