Saturday, July 29, 2017
NO ESCAPE (1953)
A limited budget movie with opening narration is sometimes a clear signal the film is going to stall out somewhere along the way, not sustaining its “docudrama” set up. There is no escaping that reality here where escape has a double meaning. One, of having all roads out of the city blocked by police for any fleeing fugitive, and the other, trying to escape a homicide rap. This is a rare crime B-movie where none of the principles die. There is a lot of faking in this film, from dubbed singing to a rooftop escape which looks particularly manufactured. One might relish the scenes of vintage San Francisco but only if you grew up there.
The film starts off fairly optimistically thanks to Lew Ayres in a likable role well suited some five years later for a young Jack Lemmon, perhaps. He appears to be a flippant, carefree songwriter who is eking out a living playing piano at a nightclub. Actually he cannot get his composing mojo back and wallows in self-doubt and drink. His dubbed vocals being way off the believability chart. To say nothing of the piano “playing” before his hands get near the keyboard.
Marjorie Steele, girlfriend of Sonny Tufts, is adequate in her role. Her trumpeted, curling upper lip when talking is annoying as if she continued as a thumb sucker through sixth-grade. But I digress. While chatting with Ayres in the nightclub, she is whisked away by a wealthy James Griffith, in possibly his briefest role ever. A quarrel later ensues with a lamp base going to Griffith's head. All of which is assumed but never filmed. Fearing she has killed Griffith, she becomes an over-the-top bundle of nerves, jumping three feet whenever a phone rings or a siren blares. Ayres later stumbles into Griffith's apartment to return the “pity cash” he received from Griffith in the nightclub. He leaves enough fingerprints to incriminate himself. It eventually occurs to Ayres that she only knocked out Griffith with someone else returning for the kill.
Tufts as a policemen seems a stretch, as one gets the feeling he will go into a jealous, maniacal rage at any moment. Slightly unstable roles like this seemed to be more the norm for him in the Fifties as his career self-destructed. But I digress again. Tufts would prefer to pin the crime on Ayres but Steele feels guilty about that. She helps Ayres escape—without leaving town—but there is no escaping the mundane sections throughout this film which are not integral to the plot and make it seem a lot longer than it is. There are a few clever close calls or two but hardly worth mentioning. In a moment to catch their breath, Steele pointedly challenges Ayres to snap out of it and return to being the composer he once was. In the end, he sees a fresh horizon with a newly written song and encouragement from his new girl.