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No need to recap the already-reviewed plot. The movie is a good example of an assembly line product that studios rushed into production for undemanding wartime audiences at a time when they were crowding theaters in record numbers. The film itself may be unmemorable, but the results still show slick professionalism of the studio system (here, Warner Bros.). It's also a chance for a newcomer like Travis to get needed exposure. He's Hollywood handsome, performs capably enough, but leaves no lasting impression and is a good example of an actor whose real medium turned out to be TV. Ditto comedian Jackie Gleason and William Hopper of old Perry Mason show in a bit part. In fact this is precisely the level of entertainment that would later transition to TV without missing a beat.

In passing—was there any cop during this period who wasn't Irish. My guess is that the stereotype was a safe and popular one because it raised no controversial connotations, unlike, say, a German or French cop. Also, both shootouts are rather conspicuously overdone. Note in the hotel room how the windowpane manages not to shatter despite fusillade after fusillade of police bullets. I suspect this was an effort to generate an appearance of more action in a crime drama that's otherwise somewhat short of the norm. Anyway, the 53 minutes remains a good example of routine bottom-of-the-bill entertainment, circa 1942.

Freshly paroled from prison, photographer Richard Travis (as "Red" O'Hara) immediately goes to see his estranged wife Julie Bishop (as Molly). Hearing a man in the house, Mr. Travis believes Ms. Bishop is a "two-timing little twit" and plans to shoot the lovers. Travis changes his mind when Bishop surprises him with a red-haired baby son. Hoping to support his new family, Travis tries to get a job at "The Illustrated News" with news editor Frank Wilcox (as Cornell). They won't hire an ex-con, but "go-getter" Travis delivers exclusive photos of a bank robbery to the paper and is hired as staff photographer...

Going straight is difficult due to Travis' friendships with underworld types, like Rex Williams (as "Slim" Dugan). Even worse, Travis is assigned to enter his old prison and illegally photograph an electric chair execution. Arched acting and brisk direction, by D. Ross Lederman, make this revision of "Picture Snatcher" (1933) play nicely. The original story suggested sex between two of its stars and an independent, female co-worker; obviously, this was abandoned. Don't miss the opening minutes, or you won't see future "Honeymooners" TV comedy legend Jackie Gleason (as "Screwball" Evans).

****** Escape from Crime (7/25/42) D. Ross Lederman ~ Richard Travis, Julie Bishop, Frank Wilcox, Rex Williams

Ultra-Prolific Director Lederman was Known for His Kinetic Pace and Under Budget Productions. This is a Remake of the James Cagney's Pre-Code Exploitation Movie, Picture Snatcher (1932).

Things Develop at a Frenzied and Breath Taking Pace as Our Hero is Framed. Paroled from Prison and Unable to Find Work because he is an Ex-Con (in typical WB social commentary), His Fate Determined by being at the Right Place All the Time as He Snaps Photos of a Bank Robbery and becomes an Award Winning Professional Shutterbug Always being on the Scene to Shoot a Scene of Incredible Drama.

As Fate, Yes Again, would have it, the Old Gang that Set Him Up are the Criminals and this Creates a Problem for the Trying to Go Straight Husband and Daddy. Trying to be a Family Man is Not as Easy as it Seems and He is Thrust into a Bad Situation. He Makes the Best of It by Agreeing to Film His Pal being Executed in the Electric Chair.

This One is Filled to the Brim with this and that and the Final Shootout is a Frenzied, also Fate Filled Finale, that is a Kinetic Gun Battle Free for All that is B-Movie Making at its Best. There is No Time to Think in the Running Time of Just Over Fifty Minutes. Yes, thats 50 Minutes.

A true good, effective, taut little crime programer from Warner Bros company. I watched it a very long time ago and just discover it now. A social noir drama with cime elements. And it's very short too, fast paced. Action sequences very powerful, the Warner trademark. Only the ending is cheesy for me, that's the reason why I won't see it again. It's not poignant, just watch it as a movie buff, nothing more. D Ross Lederman was a lousy director by the end of his career with the LONE WOLF series, where there is no common element with this little movie. I don't even speak of his early career stuff, which I don't know at all. I guess it's lost.

Poor Jackie Gleason who thought I'm sure he was getting a break in Escape From Crime. But all we see of the Great One is a few minutes at the beginning of the film before Richard Travis gets his parole.

Travis gets a parole with the usual restrictions. When he gets out he discovers he's a father.. Travis, Julie Bishop, and their kid plan to settle down once he can get a job as a photographer a trade he learned in stir.

He does get one with Frank Wilcox's paper, but he runs into his old hoodlum pals who keep turning up.

The film moves at blinding speed to cover up all that was lost in the editing. Warner Brothers used a meat cleaver approach.

Sub par product from the brother's B picture unit.