Review: ‘Escape Me Never’

Errol Flynn is given plenty of opportunity to flash the old charm but there's hardly a touch of the usual swashbuckling or boudoir romance activities in his role of a serious composer. Under the capable direction of Peter Godfrey, he turns in one of the best jobs of his career. Ida Lupino, although she's seldom been typed so much as Flynn, has a role here that she can really sink her teeth into and she demonstrates once more her versatility as a serious actress.

Errol Flynn is given plenty of opportunity to flash the old charm but there’s hardly a touch of the usual swashbuckling or boudoir romance activities in his role of a serious composer. Under the capable direction of Peter Godfrey, he turns in one of the best jobs of his career. Ida Lupino, although she’s seldom been typed so much as Flynn, has a role here that she can really sink her teeth into and she demonstrates once more her versatility as a serious actress.

Story [from a novel and play by Margaret Kennedy] is cut sharply in half between light romance and heavy drama and therin lie its only fault of note.

Tale is imbued with much of the nostalgic flavor of pre-World War I Europe. It tees off in Venice where Gig Young, a struggling young composer, wants to marry the wealthy Eleanor Parker. Through a misunderstanding, however, her parents think Young is living with Lupino, a widowed waif with an infant son, and so rush Parker off to a resort in the Alps. Seems, though, that it’s been Flynn, Young’s happy-go-lucky brother, who took Lupino and child in off the streets. To set things right again, the two brothers, Miss Lupino and the moppet start off on foot through the Alps to find Parker and explain the mistake to her.

Chief production assist is lent by Erich Wolfgang Korngold’s score, with both the ballet and theme music standout. Ballet sequences are tastefully staged by LeRoy Prinz and Milada Mladova sparkles in both terping and thesping as the prima ballerina.

Escape Me Never

Production

Warner. Director Peter Godfrey; Producer Henry Blanke; Screenplay Thames Williamson, Lenore Coffee; Camera Sol Polito; Editor Clarence Kolster; Music Erich Wolfgang Korngold; Art Director Carl Jules Weyl

Crew

(B&W) Available on VHS. Extract of a review from 1947. Running time: 101 MIN.

With

Errol Flynn Ida Lupino Eleanor Parker Gig Young Reginald Deny Isobel Elsom
Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 1

Leave a Reply

1 Comment

Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

  1. GIA says:

    Too bad this movie doesn’t receive the respect and attention it deserves. For all the romance of its backdrop, it’s a rather modern theme and somewhat shocking given the film’s year. I rather liked ‘this’ Errol Flynn, who played well into the character of being a man who cares little for money, lives in the moment and chases after things that are less important than what’s right under his nose. Ida Lupino and her baby, “Picolo,” warm every scene they are in and you grow fond of this baby and the way Sabastian (Flynn) and Caryl (Young) interact with he and Lupino. At the start of the film, you are given a comical impression of its direction but midway through, you see the reality of Lupino, Parker and Flynn’s triangle and moments where you see alternatively that Young is the interchangeable part of that triangle too. What the film does right is a lot. But the story’s ending is a bit much. Really for what Lupino has gone through with Flynn and what Young has endured with Parker, the writer should have known some would be left feeling discontent or disenchanted with the outcome, which, probably for the studios had to be given a tidy ending.

More Film News from Variety

Loading