ESCAPE

US, 1940, 104 minutes, Black and white.
Norma Shearer, Robert Taylor, Conrad Veidt, Nazimova, Felix Bressart, Albert Basserman, Philip Dorn, Bonita Granville.
Directed by Mervyn Le Roy.

Escape was an M.G.M. romantic melodrama of 1940, made on reflection on Nazi Germany of the '30s but prior to America's involvement in the war. It still stands up well after several decades. While it is propaganda material, it is not so strident or preaching as many other films of the time. Robert Taylor, a romantic hero at M.G.M. at the time - Billy the Kid, Waterloo Bridge, Johnny Eager - looks rather stilted in the central role now. However, Norma Shearer who had been at M.G.M. for some years is excellent as the Countess. German actor Conrad Veidt gives yet another of his excellent German officer performances. There is an interesting brief performance by silent star Nazimova as Robert Taylor's mother.

Direction is by Mervyn Le Roy who made quite a number of social conscious films in the '30s and then moved to M.G.M., making such successful romantic dramas as Blossoms in the Dust, Waterloo Bridge, Random Harvest. Screenplay is by Marguerite Roberts, author of many screenplays of the time (e.g. Northwest Passage)and Arch Oboler who was to make some experimental science fiction films in the '50s and '60s e.g. Five. Quite enjoyable M.G.M. romantic melodrama.

1. The impact of Nazi Germany on the United States by the end of the '30s? The outbreak of World War Two and American interest and involvement? How much does the film reflect the atmosphere of 1939-40? Its impact at the time? Its impact now - has it dated?

2. M.G.M. production values - the stars and their reputations and popularity, glossy production, black and white photography, musical score, sets and atmosphere?

3. The timelessness of this kind of story - fascist governments, imprisonment, national loyalties, human loyalties breaking through the national boundaries, suspense? Ideological questions? The blend of suspense and romance?

4. The prologue with Emmy Ritter in jail? The concentration camp, her disabilities, the woman in the cell, the harshness of the nurse? The sympathetic doctor - though with his Nazi background? His concern and her writing a letter for her son? Setting the tone of concentration camps for the urgency of Emmy Ritter's escape?

5. The transition to Mark and his travelling in Europe, Robert Taylor as the American hero and audiences identifying with him? His edginess and temper through out the film? Abrasive? The hotel and his search for his mother, the friend disowning him, the encounter with the Countess and her thwarting his search? The doctor and the chance meeting as regards the American magazines, the receiving of the letter? The plan about the death coma? The surveillance of the police and the escape with Emmy Ritter's body? The car pursuit? The reliance on the Countess and her hospitality? The threat of the presence of the general? The Countess and her decision to hold the general - the car and the plane? The difficulties of the times and movement in Germany, documentation? Mark and his sense of mission, his concern for his mother, his antagonism towards the Countess and his love for her? A hero of the '30s? For American audiences of the time?

6. Norma Shearer's style as the Countess? Her first appearance, the children? Her background, marriage, widowhood? The general and his presence in her home? Her fears, getting information about Emmy Ritter? The various meetings with Mark? Trying to get him to leave Germany? Her warnings to Mark? The final encounters with the general and her disgust with her Nazism? Her decision to receive Emmy Ritter, her ploys for warding off the general? Her decision to remain, stalling for the plane to take off, her response to the general's death? A rounded portrait of a heroic woman?

7. The portrait of the general - ambiguous, the memories of world War One, his devotion to the Countess? His giving her information? His loyalties to a Nazi regime? His growing hostility towards the Countess although his devotion to her remained? His torn sense of loyalties? The confrontation with Mark? His death and response to the Countess?

8. The sketch of the doctor, his work, background., his friendship with Mark,, his decision to help? His convictions and courage in helping Mark?

9. The old family friend and his rejection of Mark in public, his helping with the escape? Fears? The sense of oppression of the government in Germany?

10. The build-up to the final escape - and audience relief?

11. The film's comment on Nazi Germans, the atmosphere of the '30s, hostility. persecution, concentration camps., the oppressive use of legalism, executions?

12. The atmosphere of suspense - how plausible? A satisfying adventure, human document?