L'évadée

Great cinematography. Excellent acting. Taut direction. But the plot is bizarre. Everything rolls along nicely until suddenly -- without any warning -- the plot morphs into something else. Same characters and location but completely different storyline. Weird and confusing as people who were killed in the previous section show up alive again...

Nevertheless, the movie contains some terrific villains. Steve Cochran delivers a mesmerizing performance as a sadistic mobster and Peter Lorre is in top form as his cold-blooded, sinister sidekick. Michele Morgan is an edgy femme fatale and Bob Cummings delivers a convincing performance as the troubled hero.

The cinematography is classic noir with beautifully composed shots in dark settings full of intrigue and menace. A particularly memorable scene is where the cops burst into a room in search of Cummings only to find a woman sobbing uncontrollably at a table. There is some sharp dialog and lush romantic music although the sound track is scratchy. The movie is flawed by the fractured plot but worth adding to your collection.

I like the film - it builds suspense. It might not be the best dramatic film noir on the market, but it's not a bad one. I've seen far worse films that are put in the film noir category. The Chase is standard crime stuff but has a charm and story of it's own.

Chuck Scott is an a war vet and an honest man. He returned a wallet to a man that lost it - impressed, the man hires Chuck as his chauffeur. Over a little bit of time, the man's wife talks Chuck into taking her away from her abusive husband and when the husband finds out he goes after them. It is dreamy as Chuck Scott is on the run and really unsure if his mind has become "unhinged" as his doctor put it. Chuck Scott was a war vet and his doctor seems to feel he is a clear case of PTSD. How much of this is a dream, how much is real, is it all a dream or did it really happen?

I didn't have a problem with the pacing of this film - seemed fine to me.

7/10

The Chase is directed by Arthur Ripley and adapted to screenplay by Philip Yordan from the novel The Black Path of Fear written by Cornell Woolrich. It stars Robert Cummings, Steve Cochran, Michèle Morgan, Peter Lorre and Jack Holt. Music is by Michel Michelet and cinematography comes from Frank F. Planer. Plot finds Cummings as World War II veteran Chuck Scott, drifting and skint, he finds a wallet and returns it to the owner. The owner is one Eddie Roman (Cochran), an apparently wealthy and thriving business man who repays Chuck's honesty by giving him a job as a chauffeur. Nothing from here on in will ever be the same....

The Chase is one of those films that fell in to the public domain, got a cult following in spite of the number of bad prints out there, and now arguably deserves a place on the must see list of film noir enthusiasts. Bad prints aside, The Chase deals in oppressive atmosphere and lives in the void caught between a dream and a nightmare. Ripley (Thunder Road 1958) crafts his whole film in a dream state, keeping it mostly nocturnal, he and photographer Franz Planer thrive on Woolrich's premise and use slow pacing and shadow play to smoother the characters. It feels stifling, odd even, but with a couple of tricks up his sleeve, Ripley garners maximum impact by disorientating the viewer for the wonderfully absurd ending. Some may call out cheat, others are likely to enjoy its Wellesian feel, either way it's certainly a film that can't be called dull.

Cummings is fine as the good guy suddenly finding his world shifting sideways in a blur of pills, sleep and perfume, while Morgan registers nicely - even if ultimately she's underused and often her character is just there to make a romantic point. Cochran, in only his second year of acting, is a dominating and frightening force as the handsome and oily Roman. It's a menacing portrayal of a character who slaps his women around and literally will stop at nothing to get his way. But even Cochran is trumped by yet another weasel turn from Lorre, standing on the side of his boss spitting flem as well as sarcastic quips, Lorre alone is enough to seek the film out for a viewing. Good secondary support comes from Jack Holt in an important small role.

It doesn't push any boundaries or hold up as being hugely influential in the film noir cycle. But it's a relevant piece of work in that cycle, and certainly recommended to those interested in dream like oppression. 7/10

As a director Arthur Ripley only made six feature films but nothing in that short career quite prepares you for the gem that was "The Chase", which he made in 1946 and which Philip Yordan adapted from a Cornell Woolrich story. It's certainly bizarre, as down-on-his-luck Robert Cummings, (why Robert Cummings I keep asking myself), finds a wallet belonging to gangster Steve Cochran who, when he returns it, hires him as a chauffeur and that's when his troubles really begin, particularly when Cochran's frightened wife, Michele Morgan, asks him to help her get away from her husband.

Everything about this film is surprising and I just don't mean the plot. Cochran's a thug but he lives in a kitsch mansion filled with marble statues and he likes to listen to classical music while Cumming's a veteran who is also a dab hand on the piano. Perhaps the biggest surprise is just how good both these actors are. Being a gangster Cochran naturally has to have a henchman and as always Peter Lorre is superb in the part. About midway through you might start to get an idea in which direction this very strange movie is going and you may even be right...but on the other hand. Needless to say, "The Chase" has all but disappeared but if any film deserves cult status this is it. Unmissable.

A troubled ex-serviceman gets a job with a crime boss and his disturbed wife.

A 'find' for me and perhaps for other fans of noir. The 80-minutes are a perfect blend of dark visuals and surreal story. Frankly, when I think noir, I don't think Bob Cummings, an excellent light comedy actor, but hardly a figure of depth. But here, he essays the role of the troubled vet in subtle and persuasive ways. The nightclub scenes in Havana are particularly revealing, as the chaotic gaiety swirls around Scott (Cummings) and his spacey lover Lorna (Morgan)—a perfect metaphor for their circumstance.

A number of touches make this a memorable film. Casting Lorre as Gino was a coup, since his quietly devilish imp casts a background shadow over the proceedings. That's significant because Cochran, the alleged crime boss, comes across as a rather charming fellow even if he's behind dark deeds. Then there's that scene in the wine cellar, unlike any I've seen, and shrewdly abbreviated to catch the imagination. Also, catch Lorna's cameo framing through the porthole with shadows rising and falling over her face, as her nature itself migrates between light and dark. Add to the mix a speeding locomotive as the hand of fate, and a weirdly backseat driver that really is a backseat driver, and you've got an appropriately noirish race against time. And, of course, mustn't leave out the final scene so perfectly calibrated to end the film on a provocatively surreal note.

The movie's full of such imaginative twists and turns as penned by two of the best in the business, Woolrich and Yordan. I'm not sure why the movie's generally overlooked in the noir canon, perhaps because of Bob Cummings and his lightweight reputation, plus the lack of a true spider woman. Nonetheless, it's a provocative little gem, and one that prompts rare second thoughts long after the screen has gone dark.