Échappé de prison

From 1937 through 1939, Barton MacLane and Glenda Farrell made seven Torchy Blaine films together--he as the police lieutenant and Farrell as Torchy, a crime-solving reporter. During this same period, the pair made this film at Universal, not at their usual Warner Brothers home.

While "Prison Break" is clearly a B-movie with a modest budget and cast, it is a dandy film--and a nice chance for MacLane to prove he was a very good actor and could play characters other than baddies and cops. It begins with Joaquin (MacLane) working on a tuna boat and planning on marrying his sweetie (Farrell). At the same time, his buddy is planning on marrying Joaquin's sister and all looks great. However, when a man is killed, Joaquin takes the blame in order to help this friend--and ends up in prison. Things get worse when the same guy (Ward Bond) committed the murder is soon admitted to the same prison--and he's aching for a fight with Joaquin. Although Joaquin cannot help it, this fight and future fights against this thug serve to increase his sentence and it looks like he'll never get out at this rate! What's to become of nice-guy Joaquin? See the picture and find out for yourself--as there is a lot more to this film.

The best thing about this film is MacLane--his acting was quite good. Additionally, while the story has some tough to believe coincidences, the film is enjoyable throughout. Plus, it has some reasonable criticisms of prisons and the parole system--ways that they might serve to make a guy who can be rehabilitated into a hardened criminal.

I expected a bit more from this prison film, starring Barton McLane, where I once more waited to see him as a prison warden. I always imagine Barton McLane as a prison warden; maybe because I saw him once playing a warden, a long time ago. Maybe.... Anyway, this drama is smooth, light hearted, not BRUTE FORCE anyway, nothing gritty, tough, rough. Not enough for my taste anyway. I even prefer women in prison plots such as CAGED or WOMEN'S PRISON. But this Arthur Lubin's film is not charmless, it is an agreeable time waster, unfortunately wasted by a cheesy ending. I am used to other kinds of jail birds tales. Yes, this movie won't let you forget RIOT IN CELL BLOCK 11.

I found this movie well made considering the era it was made in, probably on a shoestring budget. It does a very good job of conveying the difficulties anyone with a criminal record or down on their luck, justly or otherwise has, in staying out of trouble.

The lead character is portrayed with credibility & it is easy to understand the complex situations he becomes involved in, encouraging empathy from unbiased viewers observing his plight. In fact, he has a greater integrity surely, than a great many who always steer the favourable side of shady deals. And amongst it all, he finds himself up against other inmates, prison officers & prospective employers, to mention just a few. He is supported & consoled only by his sympathetic romantic interest. The settings & bureaucratic nightmare he finds himself in, in & outside of prison, are sadly all too applicable to the more modern world scenarios about us, as back in the era of this movie made in the aftermath of the tough realities of the Depression years.

But this "Prison Break" succeeds in being entertaining as well as informative & insightful. It is well worth a view!

Prison Break finds the two leads of Warner Brothers Torchy Blane series, Barton MacLane and Glenda Farrell, in a serious sociological drama about the dilemma of an ex-convict trying to go straight. Both in and outside of prison MacLane has it really stacked against him.

This film was done for Universal Pictures and MacLane plays a captain of tuna fishing boat who's in love with Glenda Farrell. She's a widow with a small son, but for reasons not quite explained her father Victor Kilian has a vicious hatred for MacLane. MacLane also has a sister played by Constance Moore who is in love with Edmund MacDonald who works on MacLane's boat.

On his bachelor party night, MacDonald gets good and drunk and later wakes up next to the unconscious body of Edward Pawley who is brother to Farrell and son of Kilian. MacLane says he clocked, but the next day Pawley dies and MacLane is in a jackpot for manslaughter.

In prison MacLane's nemesis is Ward Bond who is one vicious thug, usually the kind of part MacLane plays in films. Which is also coincidental because if you recall both MacLane and Bond played partner cops in The Maltese Falcon and Kiss Tomorrow Goodbye.

In the end it all resolves itself a little too neatly. In fact when Bond kills a prison guard during an escape attempt that should have brought the death penalty for him. I'm surprised that Universal Pictures neglected that little fact.

Still MacLane gives a really good and sincere performance as a man trapped by circumstances only partly of his own making. He should never have taken the rap, even though he thought it was only for assault. A bit melodramatic and neat still Prison Break is a well made B film from Universal and it was nice to see Barton MacLane as a good guy and hero in this film.

In one of his rare appearances as a lead, Barton MacLane gives what may be his best performance, playing the part of Joaquin Shannon, an Irish-Portuguese tuna fisherman off the Southern California coast who, due to his protection of his younger brother, is wrongfully convicted of manslaughter and sent to prison. The film has an apparent message, i.e., that a parolee has few rights as a citizen, but this takes up little filmic space while the struggle of Shannon to clear his name produces plenty of action, both in and out of the penitentiary, as he must deal with a cruel adversary, Red Kinkaid (Ward Bond) and still find time to woo his sweetheart, played by Glenda Farrell in one of her softer roles. As opposed to today, the Depression era status of released convicts, as this 1938 work demonstrates, proscribed their marrying, and this disappointment in addition to Shannon's inability to find a job propels him into situations which bring about a showdown with the dangerous Kincaid, for whom Shannon unwittingly served his time. Routinely directed by journeyman Arthur Lubin, the film benefits from effective editing by Jack Ogilvie and skillful work by cinematographer Harry Neumann, with scenes varied among commercial ocean fishing, penitentiary life, taverns,and fog-bestrewn docks preventing any slowdown during this rapidly paced movie, although both dialogue and action are marked by cliche and are somewhat predictable. MacLane's staunch performance is matched in impact by the vigorous Bond, while Farrell, although quick with a quip as ever, is rather winning in her turn as a steadfast paramour; others displaying strong interpretations are Victor Kilian as Farrell's father and Paul Hurst as a convict on the lam.