Fugitivos del destino

MGM was among the first studios to treat the impending war with films like IDIOT'S DELIGHT (1939) and THE MORTAL STORM (1940); another such effort, despite its generic moniker, was ESCAPE. As with the former, it was apparently a Leslie Halliwell favourite – maybe he had a particular fondness for Norma Shearer, since she stars in both!

This is the superior film, however, given its early depiction of a concentration camp and the suspense inherent in the title. Shearer's co- star here is yet another silver-screen heart-throb and MGM fixture, Robert Taylor, though – unlike Gable in the afore-mentioned IDIOT'S DELIGHT – his relentless seriousness renders him a dull lead (only really coming into his own when breaking into the Nazi salute as he complains "I've had it up to here!" and again towards the end in his confrontation scenes with nominal villain Conrad Veidt). The latter, fine as always, plays a character somewhere between his sympathetic German of the Powell & Pressburger films THE SPY IN BLACK (1939) and CONTRABAND (1940) and the full-fledged Nazi he memorably essayed in CASABLANCA (1942). His initial disapproval of the brutal regime tactics eventually makes way for a compulsive adherence to duty (though a heart condition ultimately proves his undoing – ironically, the actor would himself succumb to this affliction within three years!).

He begins to suspect that his lover (Shearer) may have forsaken him for Taylor – who has been making a nuisance of himself while tracking down his mother (Silent star Nazimova), a former theatrical celebrity but whose misguided attempts at helping German refugees have landed her in a death camp. Thanks to an admiring doctor, she is induced to a comatose state, so that she can then be ostensibly transported to a proper burial ground (accorded her once-respected stature) – but Taylor is forced to seek shelter along the way in Shearer's home, which also serves as a finishing school for girls (who, as in IDIOT'S DELIGHT, seem to consider a dashing military career as the epitome of romance!).

The film has the expected gloss and entertainment value of a typical MGM product but, as I said, reasonable tension is also elicited out of its 'premature burial' situation and the unorthodox resolution of the obligatory love triangle at the finale (of which, as in the earlier Shearer picture, two versions were filmed and are compared in a "You Tube" clip).

There were plenty of early warnings of the horrors of another land war in Europe after World War One. Indeed, World War Two was to be avoided at all costs, yet this became impossible. Particularly evil was the war waged against civilians who cared little about politics and even less about military tactics. Yet, some 63,000,000 people were victims during the war, most of them civilians. This movie is a fictional account of one woman who must confront death because she was accused of treason by the Nazis for selling a house. The conflict is driven by the possibility of rescue by her son from America, and the suspense becomes overpowering. Unfortunately, her plight is a symbol of a historical reality from which the civilized nations have not yet recovered. For reference, this movie was released just one year after the fall of Poland and one year and a few months before the attack on Pearl Harbor. In terms of terrorizing civilians, this film was indeed a frightening prophecy.

This relatively unknown star vehicle is unusual for a number of different reasons. Although top billed, MGM Studio Queen, Norma Shearer's role is substantially smaller than co-star Robert Taylor's heroic turn as an American son desperately attempting to save his mother from a German Concentration camp. His mother is wonderfully played (and occasionally overplayed) by Nazimova, one of the great theatrical legends of the early 20th century. It's an interesting footnote, that it was Irving Thalberg who helped cut short the meretricious Nazimova's strange film career while his widow, Shearer, graciously allowed the former star to appear to great advantage in one of Shearer's last screen appearances. Conrad Veidt plays Shearer's Nazi lover and while he appears as icy and unyielding as he would two years later in "Casablanca", his character is softened somewhat by his un-disclosed illness and by Shearer's devotion to him. This film was one of the few made in Hollywood prior to the war which was openly critical of the Nazis (although they do hedge their bets by having a sympathetic German doctor, which gives the impression that more than a few intelligent German's disagreed with the Nazis. Significantly, this character does appear in full Nazi drag towards the end of the picture). Robert Taylor is given a very tricky part to play as a man determined to save his mother against all odds. With his masculine demeanor and his controlled sensitivity he gives a performance of great passion and conviction. Norma Shearer, looking regally beautiful and every bit the Countess, manages to convey the situation of a woman who desperately wants to help Taylor and leave her adopted country, but realizes that she must stay out of duty to Veidt, in spite of her true feelings. Felix Bressart also appears as the Nazimova's frightened but faithful servant, who helps Taylor escape. Bressart, who made a career of playing befuddled foreigners, is best known as one of the three Russian Communists in Ninotchka. Interesting casting was Bonita Granville, best known as the screen's all-American girl detective, Nancy Drew, here playing the role of a pro-Nazi student at Miss Shearer's finishing school (she would play a similar role in 1943's wartime propaganda film, "Hitler's Children"). The film was sumptuously mounted and stylishly directed by Mervyn Leroy the same year as he directed "Waterloo Bridge" also starring Taylor with Vivien Leigh. "Escape" is effective, at times shocking, but always vastly entertaining. Interesting footnote: Norma Shearer would turn down "Pride & Prejudice" and "Mrs. Miniver" both of which would turn Greer Garson into an MGM star much in the the same vein as Miss Shearer. Norma Shearer's last film, "Her Cardboard Lover" would also be opposite Robert Taylor.

As a Norma Shearer fan, I looked for this movie for years and finally found it on TCM (hail the great god, Ted Turner!). First of all, I was surprised to find a movie made so early in the years of WW2 that actually brought up the topic of concentration camps, and the reason why Robert Taylor's mother is to be executed (she helped Jewish refugees leave for America -- "Jew" is never mentioned, but it is obvious). The performances are top-notch, and it was nice to see Nazimova toning down her usual grande dame-isness. I've never been a Robert Taylor fan, but this movie has one of his best performances as he alternately bucks authority in the good old American way and puts up with the Nazi-Gestapo badgering. Norma Shearer is fine, even though her role is small, and her scenes with Conrad Veidt (playing her Nazi suitor) are very effective. You can see her democratic side gradually gaining strength against Veidt's facism as she sees more and more of Taylor and his own dilemma makes her question her present beliefs. It's a must-see.

If this was released towards the end of 1940, the U.S. was not officially in WW II yet, but word was certainly out about the movement and cruelty of Hitler's army as they invaded the surrounding countries. Robert Taylor is Preysing, american, over in wartime germany, looking for news of his missing mother, still a german citizen. He gets hints that she may have broken the local laws, but no-one will give him details on what she has done or where she might be. Getting emotional and loud, even in front of german officers, Preysing leaves and bumps into the Countess , played by Norma Shearer. Shearer had already lost husband and hollywood bigshot Irving Thalberg by this time. If you haven't seen her in "The Women", that one is a lot of fun! In Escape, the Countess may have information on where to find his mother.... with supporting cast Conrad Veidt, an actor who had already fled to the US, and Felix Bressart, who popped up in so many supporting roles. The story is mostly strong and full of suspense. However.... everywhere Preysing goes, everyone he meets asks him to keep his voice down, to act calm and normal; but... the entire film, he's yelling in public, making a scene, and embarrassing everyone who could help him. After the first five people said "Keep your voice down, everyone is listening and watching", you'd thing he would catch on, but he doesn't do any of that. That part was not very believe-able, and quite unlikely. Aside from that, it's pretty good! Danger, suspense. War-time intrigue. Directed by Mervyn LeRoy. He was one of the (many) directors on Wizard of Oz.