Il fuggitivo

Peggy Cummins (92 at this writing) is probably best known for her portrayal of a gun-happy gal in the classic noir "Gun Crazy" from 1950.

After winning the lead in 1947's Forever Amber over 200 auditioners, she was replaced by Linda Darnell because the producers decided she wasn't famous enough.

Here she is in a programmer, "Escape" from 1948, alongside Rex Harrison. Harrison plays Matt DEnant, convicted of manslaughter after an accident involving a policeman.

It was a just act, defending a woman talking with him in the park; he punched the police officer, who hit his head on the bench and died as a result.

Matt is sentenced to three years in prison which he doesn't want to spend for something he doesn't feel responsible for. He escapes during a thick fog and is caught by a young upper class woman, Dora Winton, as he's stealing her breakfast in her bedroom. She feels sorry for him and gives him a coat and hat, and he takes off as the police search her family's house.

Matt runs into Dora again when a car he stole breaks down, and again, she helps him. Unfortunately, while she helps him, another friend does not, and he nearly walks into a trap.

Matt learns that she's engaged to a man she doesn't love, strictly for money as her family has fallen on hard times. She doesn't think three years is all that long to serve, and points out that if Matt has to run and hide the rest of his life, isn't that prison too?

Good story with good performances. There are a couple of messages here - there are different kinds of prisons, and different kinds of laws. As a priest tells Matt, God's law is infallible. Man's is not.

The end is unexpected, at least it was by me.

Poor old Rex Harrison ("Denant") is taking a stroll though a foggy park when he gets involved in a tragic contretemps with a prostitute and an undercover police officer. The ensuing fracas sees the officer fall to the ground where he bangs his head on the leg of a bench and dies. "Denant" stays put, owns up and throws himself on the mercy of the court - and a sentence of three years is his reward. He manages to escape, though, and with the help of a young girl "Dora" (Peggy Cummins) manages to lead the pursuing police - led by William Hartnell - a merry dance. I've got to say, though, that aside from the obvious criticism of the demonstrably inflexible justice system that penalised a man for an accident, I struggled to quite see the point of the rest of it. It has gently religious - or, perhaps more specifically Christian - undertones, and maybe that serves to illustrate that a system with some flaws is better than no system at all, but it doesn't resonate in a fashion that concludes in anything substantial. Perhaps that's the point - maybe we are too prone to look for definites where there are none to be had. It's decently paced - much of it takes place on the run - and there is the odd comic scene, too. Harrison and Hartnell do their jobs well enough without either really having to tax their resources, nor for that matter must we, watching.

In the 1940s British country police were often portrayed in the visual media as slow & witless and "Escape"(1948) is no exception, what we in Britain called "Plod".They were portrayed as "yokels" working for underfunded constabularies by central government, when local police could only give chase on bicycles to criminals driving stolen cars.They made illogical assumptions that a man & woman in a vehicle "must be Americans" without checking the facts.The heroine Peggy Cummings' character comes over as too naive and too ready to believe Rex Harrison's (RH) story even suggesting to her sister they should let him use their car to escape!There is a pathetic shot of RH trying to fly off in a monoplane which then crashes and which only causes RH a sprained shoulder!In one scene he causes criminal damage by setting the monoplane alight.In another scene RH compounds the offence by assaulting George Woodbridge (who plays an armed farmer) as he attempts to evade justice.

However, we viewers do have some sympathy for RH's character for being found guilty of manslaughter and being sentenced to 3 years in Dartmoor prison.Towards the end of his escape he tries to obtain medieval sanctuary meeting Derick de Marney who plays a priest (and who played a similar role as RH in Hitchcocks 1933 "Young & Innocent).Derick proceeds to talk theology and philosophy to RH in the hope RH will surrender to the police.Peggy Cummings enters the church having previously unbidden told RH of her love & belief in him.With the police threatening to obtain a search warrant and before the priest can comment on RH's whereabouts, RH volunteers to surrender to law & order and is promptly driven back to Dartmoor, presumably to finish his sentence with I presume greater length added for all his further misdemeanors committed.The producers therefore leave moral questions in the air, just posing them.My rating just 6/10

A dark story of injustice, charting the hopelessness of a fugitive not from justice but from the law, which has failed in giving justice. Rex Harrison is a former war hero who defends a defenseless girl in a park and accidentally gets into more trouble than he bargained for, with fatal consequences, for a villain who deserved it, and for himself, who has to survive it. It's a great story by John Galsworthy with many instructive insights on the way. It's kind of an exploration of the problems of injustice. Anyway, risking his life and prolonged sentence by escaping, he does win something on the way, which he wouldn't if he hadn't risked everything for freedom.

Joseph Mankiewicz' direction displays all the literary deserts of the story and communicates it well with clarity and detached poignancy. It's a small film but the greater for its spartan concentration, containing much more than what any film can show.

Rex Harrison was primarily a stage actor and indeed a first rate one. His films however are very much a mixed bag but he had a very good working relationship with director Joseph L. Mankiewicz for whom he gave excellent performances. This is the second of their four films together, following on from 'The Ghost and Mrs. Muir.'

Harrison is not the first to play the character of former RAF pilot Matt Denant who has escaped from prison after being wrongfully convicted of murder. Notable among previous personifications were Leslie Howard on Broadway, Orson Welles on Radio and Gerald du Maurier in a typically stodgy British film from 1930.

Harrison's polished persona perfectly suits playwright John Galsworthy's concept that a gentleman never ceases to be a gentleman even when he's down. Whilst on the run he is aided by the free-spirited Nora of Peggy Cummins who is herself wanting to escape a life of poverty by marrying a man she does not love. Romance blossoms of course and when Denant finishes his sentence he will very likely marry her, thereby exchanging one kind of servitude for another!

Good support here from a cast of stalwarts, notably William Hartnell as a kind hearted policeman, a wonderfully twitchy Cyril Cusack as a man who cannot back a winner and Norman Wooland as a parson who persuades Denant to do the right thing.

Although the weakest of their four collaborations, with Mankiewicz at the helm there are some effective moments whilst having Freddie Young behind the camera and William Alwyn as composer can only constitute a plus.

This film is also an interesting piece of social history as Galsworthy had a strong belief in English justice and the class system, both of which have since taken a hell of a battering!