Escape

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.

In the Ethel Vance novel, the role of the Countess is even smaller than it is in the film. The story has been re-structured to fit MGM's Norma Shearer (still the Queen of the lot at the time) and Robert Taylor. Taylor, always an underrated actor, gives one of his most forceful, sensitive and earnest performances as an American trying to free his mother from a German prison camp and seeking the help of the Countess to achieve his goal. Suspense builds as the Nazi menace (Conrad Veidt) threatens to destroy any hope he has of enabling his mother to escape.

Handsomely produced, although much of the Alpine scenery has a studio-bound stage setting look, it gives us a glimpse of Norma Shearer's aristocratic beauty and Robert Taylor in his prime--which should be enough for some movie fans. Added to that is the suspenseful story and an excellent supporting cast--including Nazimova as the mother, Felix Bressart and Bonita Granville as a pro-Nazi sympathizer. It all moves rather smoothly under Mervyn LeRoy's direction, a glossy melodrama that unfortunately has never made its way to video. Well worth watching, so catch it if you can on one of the cable stations.

Just stumbled upon this movie tonight. Quite a gem.

Lots of emotions involved in this movie, considering it is a son trying to save his mother from an undeserved fate. Nice acting by Taylor and Shearer, and Veidt does well as the ominous and ever-present antagonist.

What I really liked about this movie is the timing of its making. It is before average American's really knew about Hitler and Nazi's, and well before Pearl Harbor, and America's entry into the war.

Yet, it shows in a magnificently subdued way the political climate of the time, without ever mentioning Germany or Nazi's.

Keep in mind, if you watch this movie, that the actors, directors, and producers knew nothing of the horrors the Nazi's would ultimately do.

Seeing movies like this one makes me wonder what people were thinking at the time. Could the holocaust have been prevented? Is there something going on right now that we should take notice of, and maybe prevent? In summary, I say watch this movie, and try and put yourself in 1938 while watching. The movie has to be viewed from that perspective to fully appreciate it.

Robert Taylor is in Nazi Germany in search of his mother, a former prominent stage actress played by silent screen star Alla Nazimova. He meets a whole bunch of people in his quest, some who help and some who hinder. One of them is an expatriate American Norma Shearer who is the widow of a German Count and now involved with an Army General played by Conrad Veidt.

Essentially that's the plot of Escape and a clever plot is hatched to help Nazimova escape from a concentration camp. With a few unexpected curves thrown in the way and a not so happy ending for two of the principals, you can probably figure the rest of it out.

The most interesting character in the film is Conrad Veidt. He's a whole lot like the character Burt Lancaster played in Judgement at Nuremberg. A man who has disdain for the Nazis, but when they succeed in gaining power, he accomodates himself to the new regime as did so many in the German Armed Forces. But for something that happens to him in the film, I can see Veidt before the bar of justice at Nuremberg after World War II.

Robert Taylor plays a 20th century version of Armand Duval, the part he successfully played opposite Greta Garbo in Camille. It's another role as a callow youth. He was getting old for those kind of parts and I think upon seeing him in Escape, MGM realized this. Taylor would be getting more mature parts from then on.

Norma Shearer is the American girl essentially trapped by her now noble title in Germany. She's turned her spacious living quarters into a girl's school and she's living a genteel life, but one filled with anxiety. Eventually she has to choose between Taylor and Veidt and at the end of the film, fate makes the choice for her.

Veidt and Shearer do the best jobs here. Taylor was now 29 and not suited for the Armand kind of part anymore. Still he does a good job and others to watch for are the ever dependables Alfred Basserman, Felix Bressart and Phillip Dorn.