Les amants fugitifs

I watched this film merely because of the opportunity to see the Three Stooges in one of their early features. I was surprised (pleasantly) by their appearance, as they actually played real characters, pretty much, and not outrageous clowns. And although their former honcho Ted Healy is in the film, they don't really interact with him. But the true surprise was how wonderfully entertaining and brilliantly shot the whole thing is. Richard Boleslawsky and Ted Tatzleff, the cinematographer, created a visual sense to this film unmatched by anything I remember seeing from the period. And the pacing, both in cutting and in dialog, manages to be rapid-fire and eloquent at the same time. So much has been made about the development of deep-focus photography in the years following this film, it's often forgotten that short focus can be fabulous to look at as well. Inside the bus that provides much of the setting for this film, there is always a sense of constant life going on in the background even though the foreground faces are the only things in sharp focus. I loved the look of this movie. Faces are given immense importance, even when the character who owns the face is not so important to the plot. And even the minor characters have minutely detailed physical, facial, and emotional detail of expression, bringing each of them to vivid life, often in a few seconds or less. Technically, I think this movie represents an amazing accomplishment. The plot and the performances are neither unfamiliar nor astonishing, but the execution in virtually every department is smashing. I wish I'd known about this little gem years ago.

Chorus girl Madge Evans collects money from her associates and leaves New York for California. She hopes for a Hollywood career, but she also wants to get away from gangster Nat Pendleton. He says he'll make her a star. She won't pay the price. He gets on the bus and hounds her. She takes refuge with Robert Montgomery. He's just escaped from prison, and everyone is looking for him, especially detective C. Henry Gordon.

'Bus pictures' were a drug on the market when this came out, and you can see why; the scenes set in the bus are static, enlivened a bit by cameraman Ted Tetzlaff's sharply lit, Dutch Angle shots, alternating with foggy or snow-driven exteriors. The story is likewise raised above average by the supporting players working near but out of their usual roles. Pendleton doesn't talk out of the side of his mouth, but sounds human; Ted Healy is a friendly guy; his stooges don't interact with him at all, and look like normal show biz people discussing work. Montgomery seems bewildered and desperate. Miss Evans is still a nice girl, but wise to the ways of the world.

There is so many absurd plot elements in this movie it's a wonder it ever got past the writer's room. That it plays much better than it must read is a tribute to director Richard Boleslavsky and the wonderful cast: Robert Montgomery as an escaped convict; Madge Evans as a chorine fleeing from the attentions of a gangster by boarding a cross-country bus; and Nat Pendleton as the gangster, so convinced that Evans is crazy about him that he boards the bus too. You never learn just why Montgomery was in prison, but I rooted for him just the same, sensing he was a good man. Evans sensed this too, helping him even after she learns he was the object of a nationwide manhunt. There is a lot of comedy (Ted Healy and the Three Stooges are on the bus); there is suspense when a bus full of children is buried by a blinding snowstorm; and drama of the chase and attempted rescue, all pleasures to enjoy. There is also the surprise at seeing Akim Tamiroff, Walter Brennan and others in unbilled roles. Much of the movie was shot on the road using two buses as mobile sets.

An interesting mix of comedy and drama. I found it interesting that the Three Stooges along with Ted Healy had parts in the movie. This was made the year that the Stooges made their split with Healy. Moe, Larry and Curly were not exactly in character here and while their screen time was limited, it was great to see them. While Healy was in the movie with the Stooges, they did not appear to be together. Healy clearly had a larger part in the movie, interacting with Robert Montgomery. Moe and Curly had more screen time than Larry. There was no "leader" in the group. There was no slapping and poking as they later became famous for. They did however harmonize a tune that later would show up in one of their shorts. I wish they had more screen time! This movie was made the same year that the Three Stooges made their debut in the Columbia short "Women Haters".

This film is a perfect example of how to turn a pot-boiler into an art form. Each shot is expertly staged, lit and photographed - a stunning example of what a major studio can do with behind-the-scenes-talent in all fields with a minor script. The director is not well known but some of his films, notably Les Miserables, are well loved. The kind of quality he brought to such major films is here just as clearly in a minor one. Each person photographed on the bus could well be a Steichen portrait. The snow scenes have a beauty seldom captured, particularly on a studio set. I recommend everyone record this film on DVD the next time it's on TCM. After seeing it you'll want to go back and study individual frames.