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Escape from Crime (1942)

Approved  |   |  Crime, Drama  |  25 July 1942 (USA)
5.7
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Ratings: 5.7/10 from 148 users  
Reviews: 9 user | 3 critic

Ex-con Red O'Hara becomes a daring news photographer, but his old ways get him into trouble.

Director:

Writers:

(screenplay), (story) (as Danny Ahearn)
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Title: Escape from Crime (1942)

Escape from Crime (1942) on IMDb 5.7/10

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Cast

Complete credited cast:
Richard Travis ...
Julie Bishop ...
Molly O'Hara
...
Screwball Evans (as Jackie C. Gleason)
...
Rex Williams ...
Slim Dugan
Wade Boteler ...
Lieutenant Biff Malone
Charles C. Wilson ...
Reardon (as Charles Wilson)
...
Dude Merrill
Ruth Ford ...
Myrt
John Hamilton ...
Rafferty
Ann Corcoran ...
Belle Mason
Ben Taggart ...
Warden Kirby
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Storyline

Red O'Hara, just released from prison after serving an unjust sentence on a frame engineered by Dude Merrill, leaves his wife Molly and tries unsuccessfully to land a news photographer's job. He finally gets a position after photographing a bank robbery, and tops this later by catching Dude in the midst of a crime and preventing the killing of a detective. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

I loved a guy with a gun -- See more »

Genres:

Crime | Drama

Certificate:

Approved
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Details

Country:

Language:

Release Date:

25 July 1942 (USA)  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Harry Arras died of a heart attack on set while shooting a scene for this film. See more »

Goofs

Red O'Hara addresses an envelope in close-up but the envelope he licks to seal is blank. See more »

Connections

Remake of Picture Snatcher (1933) See more »

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User Reviews

 
Programmer of the Period
12 March 2009 | by (Claremont,USA) – See all my reviews

No need to recap the already-reviewed plot. The movie is a good example of an assembly line product that studios rushed into production for undemanding wartime audiences at a time when they were crowding theaters in record numbers. The film itself may be unmemorable, but the results still show slick professionalism of the studio system (here, Warner Bros.). It's also a chance for a newcomer like Travis to get needed exposure. He's Hollywood handsome, performs capably enough, but leaves no lasting impression and is a good example of an actor whose real medium turned out to be TV. Ditto comedian Jackie Gleason and William Hopper of old Perry Mason show in a bit part. In fact this is precisely the level of entertainment that would later transition to TV without missing a beat.

In passing—was there any cop during this period who wasn't Irish. My guess is that the stereotype was a safe and popular one because it raised no controversial connotations, unlike, say, a German or French cop. Also, both shootouts are rather conspicuously overdone. Note in the hotel room how the windowpane manages not to shatter despite fusillade after fusillade of police bullets. I suspect this was an effort to generate an appearance of more action in a crime drama that's otherwise somewhat short of the norm. Anyway, the 53 minutes remains a good example of routine bottom-of-the-bill entertainment, circa 1942.


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