Je suis un évadé

It took some courage to make this movie, and Warner Brothers was up to it. This is one of four such productions on the early 1930s that dealt with crime naturalistically. But the others -- "Public Enemy," "Little Caesar," and "Scarface" -- although investing the protagonists with recognizably human traits like jealousy or male bonding -- were nevertheless on the side of the state. Okay, he might love his Mamma, but he's still a menace to society. They all died violently in the end. Here, on the other hand, is a story in which the protagonist is completely innocent, guilty of nothing more than wanting to strike out on his own and accomplish something constructive after having been through hell in the army in World War I.

The state -- Georgia -- convicts him in error. He was forced into participating in the crime by a stranger, although to be sure he acted guilty enough. And, what with the real James Allen acting as consultant, and the film being based on his autobiographical book, who can really tell how unwilling a participant he was?

Still, the point of the movie is that even if were guilty of robbery, the punishment imposed by the state, the conditions at the chain gang, were inhuman. Let's say many sensible people would consider it "cruel and unusual." So Allen escapes the first time, just as Cool Hand Luke did. According to the movie he rises to prominence as a self-taught engineer, although, again, the point would remain the same even if he never rose above the station of busboy. Coerced into marriage by a domineering, greedy, and self-indulgent wife (whose autobiographical novel should have been a companion piece to Allen's), he finds himself falling for a "nice girl".

But his past catches up with him. His wife betrays him out of spite. The governor of Illinois is understandably reluctant to extradite a prominent citizen who has shown how socially valuable he is, but the representatives of Georgia insist on a symbolic retribution. Return to Georgia voluntarily, says the soothing, expensive Georgian. There'll be only a token service of, say, 90 days in a cushy job, then you'll be pardoned. Alas, he's thrown into an even more horrific penal servitude and his hearing is suspended indefinitely. So he pulls Cool Hand Luke's Excape Number Two, right down to the admiring companion who jumps aboard the truck with him.

This time there is no going back, at least not according to the movie. The final shot is heartbreaking. I don't know how much of this story can be believed insofar as Allen's character is concerned. Suppose you were to write an autobiography. Might you not come out looking a little better than you actually are? Oh, that God the giftie gie' us/ to see ourselves as others see us. But I believe the chain gang sequences allright. If Allen is fibbing about that, he's still done a good job of convincing me that these conditions were real. I've worked with Corrections Officers and while they might be tough and contemptuous towards inmates, they treated them fairly. But I can believe things were quite different in 1925 in Georgia. The South has an interesting way of dealing with deviance. Southerners tend to be polite, compassionate, and helpful. They go out of their way to be friendly -- until you break an important rule. Then you forfeit any claim to humane treatment. (You want to be executed? Murder somebody in Texas or Florida.)

In the course of the 1960s, the state became as much of an enemy as the criminal himself -- maybe moreso. But this movie was released in 1932, a time at which it still took guts to depict a social system so thoroughly corrupt and sadistict.

Catch this one, if you can.

Paul Muni comes back from the war (WWI) a hero. He's offered his old job back but declines it--he wants to make it on his own. He inadvetantly gets involved in a stickup and is (unjustly) sent to a chain gang for 9 years. The prisoners there are treated horribly--beaten by sadistic guards and forced to eat wretched food. After a few months Muni has had it. He escapes, changes his name, makes a living for himself and is very successful. But his past begins to catch up on him...

A very early Warner Bros. social drama--and one of their best. It's pretty strong stuff. I remember originally seeing this on TV back in the 1970s and really being shocked by it. It's not graphic but what you hear is even worse then being shown it (the whippings in particular). It also shows a law system that doesn't give a damn about how they treat their prisoners. They should be treated like dirt--and are! The story moves quickly and Muni is just superb. This movie made him and you can see why. Also it has one of the most depressing endings I've ever seen in a motion picture. It hit me hard back in the 1970s and still works today. Muni's haunted face and the final line are harrowing. A true classic--a must-see.

Be warned--some non-cable TV prints cut out the final line!

Being a man who has a very unhealthy penchant for any film that deals with incarceration, it is with great elation that I can proudly proclaim this to be one of the greatest films of the genre. I had to finally give way and import the film on Region 1 to see what I was missing, boy was it joyous to see how this film has influenced some of my favourite film's of all time.

This is one tough movie, it pulls no punches and the only surprise is that it was made in 1932, that the film is a grizzled masterpiece is down to the astute direction of Mervyn LeRoy and a quite brilliant performance from Paul Muni in the lead role of James Allen. Based on the real life writings of Robert Elliot Burns, the film is a harsh kick in the guts about the brutal penal system that existed when most of us were mere glints in our Father's eyes. It is part of a Warner Brothers controversial classic's box set that is available on Region 1, and its place on any controversial classic list is worthy.

The film had major impact on reviews of the penal system, it caused uproar in Georgia (the film never mentions Georgia, but they knew it was about them), law suits followed and Robert Elliot Burns himself was constantly pursued by the authorities despite the state being privy to the actual facts of his case. I wont be boorish with the details as it is well documented across the net and those who haven't seen the film really need to address that issue. This picture strips it down to a primal story that begs a viewing from anyone interested in the genre - or actually for those interested in brilliant cinema from a golden era - period! 10/10

Since the movie ends somewhat abruptly, I was interested in what happened to this character in real life, so I did some research. For those interested, read on:

The man, whose real name was Burns, lived quite awhile in New Jersey, wrote the book with this same title, even smuggled himself into Los Angeles for two weeks to help with the movie, using an assumed name and acting very skittish. He then went back to New Jersey. The state of Georgia, home of these chain gangs, tried to extradite him but New Jersey wouldn't give him up.

Regarding the film........

"Powerful" was a word describing this movie when it came out over 70 years ago, and it still holds true today. It was based on a true story and if injustice bothers you, this film will be disturbing. It certainly was to me, at least the first time I saw it.

I've seen it several times and am always mesmerized by Paul Muni's performance. Just the expressions on his face alone are fascinating. The other members of the cast are so-so, but it's Muni's movie anyway.

Mervyn LeRoy's chain gang movie from 1932 starring Paul Muni ruffled feathers on its initial appearance, and still packs a considerable punch when viewed today.

James Allen is implicated in a robbery and is sentenced to hard labour - seeking justice and the ability to clear his name he escapes from the brutality of the prison regime and sets up a new life (as Allen James, not that much of a name change really). The new Allen is a man of influence and importance, who does good for his community. The State still wants revenge though and when he is betrayed, his life really goes pear-shaped.

A sharp and perceptive script is the greatest strength of this drama, plus Paul Muni's exceptional performance in the lead during the different situations faced by his character. Glenda Farrell also makes an impression, but it is probably the last sequence you'll remember the longest, as a desperate Muni fades into the shadows and a lifetime on the edge of society. A heavy verdict indeed on American justice of the 1930s.