No Escape (1936) Poster

(1936)

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6/10
Playing at Murder
wilvram9 June 2016
Leslie Perrins is a successful author of crime novels and plays. His close friends are Billy Milton as a wealthy man about town, and Valerie Hobson, a sophisticated young woman married to a much older man (Henry Oscar). Following suggestions that he downplays the intelligence of the police in his work, he makes a wager; Milton will disappear for four weeks, with Perrins deluding the police that he's been murdered. Things are bound to go wrong.

The plot is now a familiar one, most famously in Beyond a Reasonable Doubt, but would have been fresh at the time; this was originally a successful play. Pity it has to be padded out with some desperate comic relief including Margaret Yarde as a tipsy housekeeper and Ronald Simpson as a ludicrous reporter for a local rag who's seen too many American crime films. On other occasions the humour is more subtle: "You make a good villain - you should be in movies" quips Milton to Perrins, a man who played more bad guys in British films of the period than anyone else.

Robert Cochran, as the detective on the case, is seen early on taking an identically immaculately dressed villain into custody, which has nothing to do with anything but does showcase the stylish fashion of the times; otherwise there's a bit too much of the other woodenly-played Scotland Yard men. Valerie Hobson, not yet twenty but already a star with Hollywood experience, is alluring and polished in the lead, though her character is hardly consistent. She supposedly married Henry Oscar because she "felt sorry for him" but there's nothing in her demeanour to suggest she's the sentimental type as she openly flirts with Milton and Perrins.

Photography is generally superior to the script and direction, and the print on the recent Network DVD is excellent.
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5/10
An Incongruous and Highly Indigestible Mix
JohnHowardReid25 July 2008
Warning: Spoilers
A crime novelist tries to fool the police into investigating the "mysterious disappearance" of a socialite friend. In reality, the novelist is hiding the friend in the loft of his country cottage.

A very odd film indeed. The basic plot is a familiar ploy, but it's given some very peculiar additions here — so many in fact that I'm going to find it difficult to list just the main items. I won't even try to discuss them in order of importance. So here they are at random: Although the film makes it plain from the start who the central character is, I regarded the opening scene purely as a spurious addition, designed solely to help late-coming picturegoers find their seats. But in point of fact the hero is Robert Cochran, not Leslie Perrins and still less Billy Milton. Another clue to this status is that despite the length of his role and the finale wrap-up, Mr Perrins is always the one who is slightly out of focus in the group and two-shots. The oddity is that of necessity the Cochran character disappears completely for such long stretches it's difficult to see him as central rather than peripheral. But the director, the film editor and the photographer keep reminding us that come the final act, Mr Cochran will come into his own.

Even though the groundwork has been well laid, most audiences will probably find Cochran's assumption of a major role disconcerting. Still more however will they be discomfited by the movie's wide mood-swings which are not telegraphed at all. Just look at the sequence of scenes: 1. Police procedural with Cochran; 2. comedy of manners with Hobson, Perrins and West; 3. triangle plot with Henry Oscar as the neurotic husband, his mania emphasized by noirishly flashing lights; 4. farce with tipsy West vainly trying to retrieve his car; 5. long unfolding of Beyond a Reasonable Doubt gimmick "murder" plot; 6. extremely low farce with Margaret Yarde as a sodden housekeeper; 7. police procedural with Cochran beginning his investigations; 8. sudden change of mood and scene to knockabout comedy in a country bar with vampish barmaid, assorted bumpkins and Ronald Simpson in what turns out to the "comic" relief lead; 9. moving ahead, "comedy" scene between local constable and eager reporter, closely followed by 10. another comedy scene between a different (and rather better acted) comic constable and Leslie Perrins, all interspersed by 11. 12. 13. 14 etc. lots of tediously "comic" stuff between Perrins and West.

When West is finally murdered, the action is so tame, we think it's all a pre-telegraphed comic pretense or mistake or even a dream. I don't know who was more surprised when it turns out for real, even though Martin keeps on scooping and Bunty imbibing. After a mild chase, the film wraps up with police congratulations all around, and Miss Hobson in the arms of...

Lee does his best with this diverse material. His staging is poor, but he does use flash pans to indicate swings of time and scene and his interrogation close-ups are most effective.

Of the players, only Cochran acquits himself with even the blandest of credit. Miss Hobson is none too flatteringly photographed and sometimes unbecomingly costumed as well. Whilst her performance is less superficial than Perrins, she conveys little real feeling. Oscar tends to over-do his twitching, and as for the obnoxious Billy Milton my only words of praise are that Simpson and Yarde are even worse.

Filmed on an obviously limited budget, but often glossily photographed, No Escape is certainly not unentertaining. All the same I wouldn't want to add it to my permanent collection.
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5/10
Plodding
malcolmgsw5 February 2017
Warning: Spoilers
As has been mentioned in other reviews the basic plot of this film has been used many times in many guises.Basically it boils down to a hoax murder to prove a point which goes horribly wrong when one of the parties to the hoax is killed.This film is certainly one of the least interesting of the film's using this plot device.Given the fact that this film is 80 minutes long it is clearly not a quota quickie,as this film is at least a quarter of an hour too long.The pace is slow and leisurely.Furthermore the scene of the killing is bizarre.Both Perrins and his friend go out with shotguns in the middle of a thunderstorm in the middle of the night possibly to shoot rabbits.However Perrins apparently bags his friend instead of a rabbit.However it is all to pat and rather predictable.
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