THE ESCAPE

UK, 2017, 101 minutes, Colour.

Gemma Arteton, Dominic Cooper, Frances Barber, Jelil Lespert, Marthe Keller.

Directed by Dominic Savage.

The particular escape here is the escape from home by a wife and mother.

The film asks the audience to identify with Tara, played with pathos and energy by Gemma Arteton, who is seen initially packing, looking in the mirror, walking out of the house and going to the train station.

However, most of the structure of the film is in flashbacks, building up the story of Tara, her marrying Mark (Dominic Cooper), a conventional marriage, children, the increasing demands on Tara and psychological repercussions.

Mark is the expected husband, working hard, relating with the children, taking for granted fulfilment of his sexual expectations and demands of his wife. To that extent insensitive. The children create their problems, especially the young boy who is prone to tantrums.

At one stage, Tara does go to London, buys a second-hand book on mediaeval tapestries and decides that she would like to do an art course – Mark agreeing without much feeling for what it would mean to Tara.

Eventually, she is seen breaking, having her own tantrum with the children.

Then, she eventually does walk out, takes a train to Paris, somewhat overwhelmed, visiting the galleries, admiring the tapestries, stalked by a photographer to whom she responds, talking, a meal, a hotel room, the discovery that he was married.

Mark does come to find her – reconciliation. But for how long? And a repetition of the opening sequence.

1. Title, the tone, Tara’s story, marriage, children, the need for space, freedom?
2. The suburban setting, home, school, the streets? Train rides? Visit to London, the bookstore, the exhibition? The visit to Paris, the scenery, the galleries, apartments? The musical score?
3. Issues of marriage, commitment, children, freedom, pressures, need for challenge and growth?
4. The opening, Tara, the Mirror, getting ready, to leave? The range of flashbacks, the cumulative effect of the story of the marriage, the years of marriage, the two children, their temperaments, Ted and his tantrums, the relationship with Mark, the importance of sexual encounters, for Mark, less for Tara? Work, moods, housekeeping? The borrowing of the tapestry book, investigation about the art course? Mark and his responses?
5. Tara, her character, the visit to Allison and the discussion? Her age, emotional state, psychological state, irritation with the children, yet care for them? Mark, sexual activity, a burden for her? Talking with him, his not understanding, his reaction to the arts course, going out to dinner together?
6. Mark, ordinary man, marriage, children, expectations, unimaginative, love for his wife, good with the children? Sexual urge? Is not understanding his wife, with the children, her visit to London, supporting the art course, not understanding it?
7. Tara, impulsive, leaving the house, packing, going to Paris, wandering, the Gallery, the tapestry? The encounter with Philippe, his photos, her response, the conversations, flirting, provocative, the night with him, the phone call from his wife, her reaction, his leaving? The phone call from Mark, his plea?
8. Mark, coming to all all get her, the reconciliation? At home, the repetition of the situation, the repetition of the opening sequence? Her leaving?
9. Audience sympathy with Tara, or not, many considering she was spoilt and not willing to face responsibilities? Others understanding her psychological state and needs?