Fuga

MGM was among the first studios to treat the impending war with films like IDIOT'S DELIGHT (1939) and THE MORTAL STORM (1940); another such effort, despite its generic moniker, was ESCAPE. As with the former, it was apparently a Leslie Halliwell favourite – maybe he had a particular fondness for Norma Shearer, since she stars in both!

This is the superior film, however, given its early depiction of a concentration camp and the suspense inherent in the title. Shearer's co- star here is yet another silver-screen heart-throb and MGM fixture, Robert Taylor, though – unlike Gable in the afore-mentioned IDIOT'S DELIGHT – his relentless seriousness renders him a dull lead (only really coming into his own when breaking into the Nazi salute as he complains "I've had it up to here!" and again towards the end in his confrontation scenes with nominal villain Conrad Veidt). The latter, fine as always, plays a character somewhere between his sympathetic German of the Powell & Pressburger films THE SPY IN BLACK (1939) and CONTRABAND (1940) and the full-fledged Nazi he memorably essayed in CASABLANCA (1942). His initial disapproval of the brutal regime tactics eventually makes way for a compulsive adherence to duty (though a heart condition ultimately proves his undoing – ironically, the actor would himself succumb to this affliction within three years!).

He begins to suspect that his lover (Shearer) may have forsaken him for Taylor – who has been making a nuisance of himself while tracking down his mother (Silent star Nazimova), a former theatrical celebrity but whose misguided attempts at helping German refugees have landed her in a death camp. Thanks to an admiring doctor, she is induced to a comatose state, so that she can then be ostensibly transported to a proper burial ground (accorded her once-respected stature) – but Taylor is forced to seek shelter along the way in Shearer's home, which also serves as a finishing school for girls (who, as in IDIOT'S DELIGHT, seem to consider a dashing military career as the epitome of romance!).

The film has the expected gloss and entertainment value of a typical MGM product but, as I said, reasonable tension is also elicited out of its 'premature burial' situation and the unorthodox resolution of the obligatory love triangle at the finale (of which, as in the earlier Shearer picture, two versions were filmed and are compared in a "You Tube" clip).

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.

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.

This is another underrated film, probably due to the fact that in those days, the studios just churned them out. It's a shame that today, with fewer films being made, more can't be "churned out" like this one.

A top-notch cast, including Robert Taylor, Nazimova, Conrad Veidt and Norma Shearer do justice to a very good script which at times has you on the edge of your seat.

Robert Taylor plays an American who comes to Germany looking for his mother, a well-known German actress, who married an American and returns to Germany to sell her house. One can really feel his frustration as he frantically tries to find information on her whereabouts.

Finally, he learns that she is in a concentration camp awaiting execution. Along the way, he has met Shearer, an American, who continued to live in Germany after she was widowed and is now seeing a German officer.

The film is heavy on propaganda, as Taylor comes up against citizens afraid to talk and nasty, uncaring Nazis. Even Shearer refuses to help him initially, and an old family friend pretends not to know him.

Taylor does an excellent job as both a desperate man and a loving, tender son. Without giving the story away, he has one magnificent nonverbal moment where it literally looks like the blood has drained from his face.

Shearer is lovely, and Veidt is alternately charming and scary. Nazimova plays Taylor's mother in a strong performance. Though she went outside the studio to get Tyrone Power to costar with her in "Marie Antoinette" rather than use Taylor, both Shearer and Taylor were under contract to MGM and would meet again for Shearer's final film, "Her Cardboard Lover."

Some of the final scenes of "Escape" are very intense. Highly recommended.

If this was released towards the end of 1940, the U.S. was not officially in WW II yet, but word was certainly out about the movement and cruelty of Hitler's army as they invaded the surrounding countries. Robert Taylor is Preysing, american, over in wartime germany, looking for news of his missing mother, still a german citizen. He gets hints that she may have broken the local laws, but no-one will give him details on what she has done or where she might be. Getting emotional and loud, even in front of german officers, Preysing leaves and bumps into the Countess , played by Norma Shearer. Shearer had already lost husband and hollywood bigshot Irving Thalberg by this time. If you haven't seen her in "The Women", that one is a lot of fun! In Escape, the Countess may have information on where to find his mother.... with supporting cast Conrad Veidt, an actor who had already fled to the US, and Felix Bressart, who popped up in so many supporting roles. The story is mostly strong and full of suspense. However.... everywhere Preysing goes, everyone he meets asks him to keep his voice down, to act calm and normal; but... the entire film, he's yelling in public, making a scene, and embarrassing everyone who could help him. After the first five people said "Keep your voice down, everyone is listening and watching", you'd thing he would catch on, but he doesn't do any of that. That part was not very believe-able, and quite unlikely. Aside from that, it's pretty good! Danger, suspense. War-time intrigue. Directed by Mervyn LeRoy. He was one of the (many) directors on Wizard of Oz.