Robert Taylor is in Nazi Germany in search of his mother, a former prominent stage actress played by silent screen star Alla Nazimova. He meets a whole bunch of people in his quest, some who help and some who hinder. One of them is an expatriate American Norma Shearer who is the widow of a German Count and now involved with an Army General played by Conrad Veidt.

Essentially that's the plot of Escape and a clever plot is hatched to help Nazimova escape from a concentration camp. With a few unexpected curves thrown in the way and a not so happy ending for two of the principals, you can probably figure the rest of it out.

The most interesting character in the film is Conrad Veidt. He's a whole lot like the character Burt Lancaster played in Judgement at Nuremberg. A man who has disdain for the Nazis, but when they succeed in gaining power, he accomodates himself to the new regime as did so many in the German Armed Forces. But for something that happens to him in the film, I can see Veidt before the bar of justice at Nuremberg after World War II.

Robert Taylor plays a 20th century version of Armand Duval, the part he successfully played opposite Greta Garbo in Camille. It's another role as a callow youth. He was getting old for those kind of parts and I think upon seeing him in Escape, MGM realized this. Taylor would be getting more mature parts from then on.

Norma Shearer is the American girl essentially trapped by her now noble title in Germany. She's turned her spacious living quarters into a girl's school and she's living a genteel life, but one filled with anxiety. Eventually she has to choose between Taylor and Veidt and at the end of the film, fate makes the choice for her.

Veidt and Shearer do the best jobs here. Taylor was now 29 and not suited for the Armand kind of part anymore. Still he does a good job and others to watch for are the ever dependables Alfred Basserman, Felix Bressart and Phillip Dorn.

Just stumbled upon this movie tonight. Quite a gem.

Lots of emotions involved in this movie, considering it is a son trying to save his mother from an undeserved fate. Nice acting by Taylor and Shearer, and Veidt does well as the ominous and ever-present antagonist.

What I really liked about this movie is the timing of its making. It is before average American's really knew about Hitler and Nazi's, and well before Pearl Harbor, and America's entry into the war.

Yet, it shows in a magnificently subdued way the political climate of the time, without ever mentioning Germany or Nazi's.

Keep in mind, if you watch this movie, that the actors, directors, and producers knew nothing of the horrors the Nazi's would ultimately do.

Seeing movies like this one makes me wonder what people were thinking at the time. Could the holocaust have been prevented? Is there something going on right now that we should take notice of, and maybe prevent? In summary, I say watch this movie, and try and put yourself in 1938 while watching. The movie has to be viewed from that perspective to fully appreciate it.

MGM was among the first studios to treat the impending war with films like IDIOT'S DELIGHT (1939) and THE MORTAL STORM (1940); another such effort, despite its generic moniker, was ESCAPE. As with the former, it was apparently a Leslie Halliwell favourite – maybe he had a particular fondness for Norma Shearer, since she stars in both!

This is the superior film, however, given its early depiction of a concentration camp and the suspense inherent in the title. Shearer's co- star here is yet another silver-screen heart-throb and MGM fixture, Robert Taylor, though – unlike Gable in the afore-mentioned IDIOT'S DELIGHT – his relentless seriousness renders him a dull lead (only really coming into his own when breaking into the Nazi salute as he complains "I've had it up to here!" and again towards the end in his confrontation scenes with nominal villain Conrad Veidt). The latter, fine as always, plays a character somewhere between his sympathetic German of the Powell & Pressburger films THE SPY IN BLACK (1939) and CONTRABAND (1940) and the full-fledged Nazi he memorably essayed in CASABLANCA (1942). His initial disapproval of the brutal regime tactics eventually makes way for a compulsive adherence to duty (though a heart condition ultimately proves his undoing – ironically, the actor would himself succumb to this affliction within three years!).

He begins to suspect that his lover (Shearer) may have forsaken him for Taylor – who has been making a nuisance of himself while tracking down his mother (Silent star Nazimova), a former theatrical celebrity but whose misguided attempts at helping German refugees have landed her in a death camp. Thanks to an admiring doctor, she is induced to a comatose state, so that she can then be ostensibly transported to a proper burial ground (accorded her once-respected stature) – but Taylor is forced to seek shelter along the way in Shearer's home, which also serves as a finishing school for girls (who, as in IDIOT'S DELIGHT, seem to consider a dashing military career as the epitome of romance!).

The film has the expected gloss and entertainment value of a typical MGM product but, as I said, reasonable tension is also elicited out of its 'premature burial' situation and the unorthodox resolution of the obligatory love triangle at the finale (of which, as in the earlier Shearer picture, two versions were filmed and are compared in a "You Tube" clip).

This relatively unknown star vehicle is unusual for a number of different reasons. Although top billed, MGM Studio Queen, Norma Shearer's role is substantially smaller than co-star Robert Taylor's heroic turn as an American son desperately attempting to save his mother from a German Concentration camp. His mother is wonderfully played (and occasionally overplayed) by Nazimova, one of the great theatrical legends of the early 20th century. It's an interesting footnote, that it was Irving Thalberg who helped cut short the meretricious Nazimova's strange film career while his widow, Shearer, graciously allowed the former star to appear to great advantage in one of Shearer's last screen appearances. Conrad Veidt plays Shearer's Nazi lover and while he appears as icy and unyielding as he would two years later in "Casablanca", his character is softened somewhat by his un-disclosed illness and by Shearer's devotion to him. This film was one of the few made in Hollywood prior to the war which was openly critical of the Nazis (although they do hedge their bets by having a sympathetic German doctor, which gives the impression that more than a few intelligent German's disagreed with the Nazis. Significantly, this character does appear in full Nazi drag towards the end of the picture). Robert Taylor is given a very tricky part to play as a man determined to save his mother against all odds. With his masculine demeanor and his controlled sensitivity he gives a performance of great passion and conviction. Norma Shearer, looking regally beautiful and every bit the Countess, manages to convey the situation of a woman who desperately wants to help Taylor and leave her adopted country, but realizes that she must stay out of duty to Veidt, in spite of her true feelings. Felix Bressart also appears as the Nazimova's frightened but faithful servant, who helps Taylor escape. Bressart, who made a career of playing befuddled foreigners, is best known as one of the three Russian Communists in Ninotchka. Interesting casting was Bonita Granville, best known as the screen's all-American girl detective, Nancy Drew, here playing the role of a pro-Nazi student at Miss Shearer's finishing school (she would play a similar role in 1943's wartime propaganda film, "Hitler's Children"). The film was sumptuously mounted and stylishly directed by Mervyn Leroy the same year as he directed "Waterloo Bridge" also starring Taylor with Vivien Leigh. "Escape" is effective, at times shocking, but always vastly entertaining. Interesting footnote: Norma Shearer would turn down "Pride & Prejudice" and "Mrs. Miniver" both of which would turn Greer Garson into an MGM star much in the the same vein as Miss Shearer. Norma Shearer's last film, "Her Cardboard Lover" would also be opposite Robert Taylor.

If this was released towards the end of 1940, the U.S. was not officially in WW II yet, but word was certainly out about the movement and cruelty of Hitler's army as they invaded the surrounding countries. Robert Taylor is Preysing, american, over in wartime germany, looking for news of his missing mother, still a german citizen. He gets hints that she may have broken the local laws, but no-one will give him details on what she has done or where she might be. Getting emotional and loud, even in front of german officers, Preysing leaves and bumps into the Countess , played by Norma Shearer. Shearer had already lost husband and hollywood bigshot Irving Thalberg by this time. If you haven't seen her in "The Women", that one is a lot of fun! In Escape, the Countess may have information on where to find his mother.... with supporting cast Conrad Veidt, an actor who had already fled to the US, and Felix Bressart, who popped up in so many supporting roles. The story is mostly strong and full of suspense. However.... everywhere Preysing goes, everyone he meets asks him to keep his voice down, to act calm and normal; but... the entire film, he's yelling in public, making a scene, and embarrassing everyone who could help him. After the first five people said "Keep your voice down, everyone is listening and watching", you'd thing he would catch on, but he doesn't do any of that. That part was not very believe-able, and quite unlikely. Aside from that, it's pretty good! Danger, suspense. War-time intrigue. Directed by Mervyn LeRoy. He was one of the (many) directors on Wizard of Oz.

There were plenty of early warnings of the horrors of another land war in Europe after World War One. Indeed, World War Two was to be avoided at all costs, yet this became impossible. Particularly evil was the war waged against civilians who cared little about politics and even less about military tactics. Yet, some 63,000,000 people were victims during the war, most of them civilians. This movie is a fictional account of one woman who must confront death because she was accused of treason by the Nazis for selling a house. The conflict is driven by the possibility of rescue by her son from America, and the suspense becomes overpowering. Unfortunately, her plight is a symbol of a historical reality from which the civilized nations have not yet recovered. For reference, this movie was released just one year after the fall of Poland and one year and a few months before the attack on Pearl Harbor. In terms of terrorizing civilians, this film was indeed a frightening prophecy.

Robert Taylor (Mark) arrives in Nazi Germany to seek out his actress mother Alla Nazimova (Emmy Ritter) who seems to have disappeared. In reality, she is in a concentration camp awaiting execution. Taylor comes up against a brick wall whenever he asks about her and it takes the help of doctor Philip Dorn (Dr Ditten) for him to find out the truth, and he must then prepare to make his escape.

It's an interesting storyline that gets you involved from the beginning. Personally, I liked the German characters of Philip Dorn (I think he deserved a "Thank You") and Nazi General Conrad Veidt (Kurt) the best. There is also a good performance from Albert Bassermann at the beginning of the film where he is left pondering the meaning of the word coward. Incidentally, the lady playing his wife is his actual wife, Elsa Bassermann. I felt that Robert Taylor played his role as a bit of an ungrateful bastard and emerged as quite unlikable. I don't think he was realistic and I couldn't relate to him. And his old pal Felix Bressart (Fritz) was a comedy nitwit character that could have been really annoying, but as such, was just mildly annoying. Nazimova is good in her role as the mother and is involved in some memorable scenes as she is smuggled out of the concentration camp, despite being in a coffin. Is she dead or alive?

There are good scenes of dialogue between Conrad Veidt and his lover Norma Shearer (the Countess), especially when he calls her stupid. Ha ha. Nice one, Conrad. He throws some comedy out there - another example occurs when he confronts Robert Taylor about Taylor's thoughts and sense of humour - yet he still manages to retain a threatening personality. It's a shame that the film decides to give him a weak heart. The ending seems all rather convenient. And check out the bit with the stolen passport and how Nazimova makes herself up to look like the student girl's picture. Freaky!

This is another underrated film, probably due to the fact that in those days, the studios just churned them out. It's a shame that today, with fewer films being made, more can't be "churned out" like this one. A top-notch cast, including Robert Taylor, Nazimova, Conrad Veidt and Norma Shearer do justice to a very good script which at times has you on the edge of your seat.

Robert Taylor plays an American who comes to Germany looking for his mother, a well-known German actress, who married an American and returns to Germany to sell her house. One can really feel his frustration as he frantically tries to find information on her whereabouts. Finally, he learns that she is in a concentration camp awaiting execution. Along the way, he has met Shearer, an American, who continued to live in Germany after she was widowed and is now seeing a German officer.

The film is heavy on propaganda, as Taylor comes up against citizens afraid to talk and nasty, uncaring Nazis. Even Shearer refuses to help him initially, and an old family friend pretends not to know him. Taylor does an excellent job as both a desperate man and a loving, tender son. Without giving the story away, he has one magnificent nonverbal moment where it literally looks like the blood has drained from his face. Shearer is lovely, and Veidt is alternately charming and scary. Nazimova plays Taylor's mother in a strong performance. Though she went outside the studio to get Tyrone Power to costar with her in "Marie Antoinette" rather than use Taylor, both Shearer and Taylor were under contract to MGM and would meet again for Shearer's final film, "Her Cardboard Lover."

Some of the final scenes of "Escape" are very intense. Highly recommended.

"Escape" is an engaging WWII-era propaganda adventure intrigue. The film is presented in the classically-framed and lit b&w style of the era. The whole thing just feels cozy...except for Bob Taylor's performance. As was so often the case his performance is completely over-the-top emotionally. He was such a ham. He's on level 9 in every scene, always on the brink of sinking his own cause of saving his mother.

Honestly, I have no idea how Taylor achieved such a legacy of being a highly-regarded actor of his times. His performances so often disturb most of the pictures in which I've seen him play.

As a Norma Shearer fan, I looked for this movie for years and finally found it on TCM (hail the great god, Ted Turner!). First of all, I was surprised to find a movie made so early in the years of WW2 that actually brought up the topic of concentration camps, and the reason why Robert Taylor's mother is to be executed (she helped Jewish refugees leave for America -- "Jew" is never mentioned, but it is obvious). The performances are top-notch, and it was nice to see Nazimova toning down her usual grande dame-isness. I've never been a Robert Taylor fan, but this movie has one of his best performances as he alternately bucks authority in the good old American way and puts up with the Nazi-Gestapo badgering. Norma Shearer is fine, even though her role is small, and her scenes with Conrad Veidt (playing her Nazi suitor) are very effective. You can see her democratic side gradually gaining strength against Veidt's facism as she sees more and more of Taylor and his own dilemma makes her question her present beliefs. It's a must-see.

I'd previously avoided Escape like the plague, since it starred Robert Taylor and Norma Shearer, but when it came time for Felix Bressart's week on Hot Toasty Rag, I decided to give it a chance. I'm so glad I did, since it was very enjoyable and neither of the two leads ruined it. I don't dislike Norma as much as I used to, and I can count this movie among her better performances. She doesn't show up for a while, though, so don't expect her to be the lead in this story.

Robert Taylor is an American travelling to Nazi Germany to find out information about his mother, played by Alla Nazimova. She's been missing, and he's traced a letter from a family servant back to Germany, but when he pries, he can't get anymore information. Alla is ill and awaiting execution in a concentration camp, and since no one appears willing to inform or help, it seems that Robert has reached a dead end. But that's just the first half hour of the movie, and neither Norma Shearer nor Felix Bressart have showed up yet!

Costarring Conrad Veidt and Bonita Granville, this is a very entertaining, tense dramatic thriller. I still don't like Robert Taylor, but this might be the first movie I've seen of his that he didn't ruin with his contemporary speech and bad acting. If I liked this movie, it's a pretty high recommendation, so give it a chance and get ready to sit on the edge of your seat.

In the 1940's Mervyn LeRoy was a great director of many fine films and you can tell by the great actors performing in this film and the mysterious plot to this story. Norma Shearer,(Countess Ruby Von Treck),"The Women",'39, had an admiring Nazi General, Conrad Veidt,(General Kurt von Kolb),"Casablanca",'42, who tried to take over her life. However, Robert Taylor,(Mark Preysing),"Johnny Tiger",'66, came to Europe to find his mother who was a retired actress and being held captive by the Nazi authorities. There is a coffin and graveyard involved in this story which makes the film quite interesting, considering it was made in 1940. If you look close you will see Bonita Granville,(Ursula, a Student),"Nancy Drew Pictures of 1930's", trying to help Mark Preysing avoid being captured by the Nazi soldiers. If you love a very young looking Robert Taylor, this is the film for YOU!

Notable as One of the First Hollywood Movies to Attempt a Dramatic Interpretation of just what the Hell was Happening in that, at the Time, Enigmatic European Situation that was just Beginning to Involve, once more, the Whole World. Conflicting Scenarios and Reports had been Puzzling to the Proletariat in America.

Hitler was Time Magazine's Man of the Year and the German People were Ecstatic about the Positive Changes in Their Country. But there were also Rumors about Concentration Camps and Oppression, Thuggery and Racism.

So into Movie Theatres in 1940, almost Two Years Before Pearl Harbor, came this Fairly Blatant Criticism and the Motive from the Studio seemed to be of a Propaganda Nature. But its Prophetic Vision and Melodramatic Leanings in this Movie Proved to be more than that.

Robert Taylor and Norman Shearer Head a Decent Cast of Players in this somewhat Stiff, Studio Bound Photoplay. The Film's Place in History Overshadows the rather Mundane, but Suspenseful Aspects of this Taut, but at Times, Tedious One Note Presentation.

The Gloomy Atmosphere is Persistent and it is a Painful Story of One Man's Attempt to Infiltrate the Police State and Rescue His Mother from Certain Death at the Hands of these Gestapo Goons. The Screenplay does leave Room for some Dissenters, Including a Doctor in a Nazi Uniform.

In the Ethel Vance novel, the role of the Countess is even smaller than it is in the film. The story has been re-structured to fit MGM's Norma Shearer (still the Queen of the lot at the time) and Robert Taylor. Taylor, always an underrated actor, gives one of his most forceful, sensitive and earnest performances as an American trying to free his mother from a German prison camp and seeking the help of the Countess to achieve his goal. Suspense builds as the Nazi menace (Conrad Veidt) threatens to destroy any hope he has of enabling his mother to escape.

Handsomely produced, although much of the Alpine scenery has a studio-bound stage setting look, it gives us a glimpse of Norma Shearer's aristocratic beauty and Robert Taylor in his prime--which should be enough for some movie fans. Added to that is the suspenseful story and an excellent supporting cast--including Nazimova as the mother, Felix Bressart and Bonita Granville as a pro-Nazi sympathizer. It all moves rather smoothly under Mervyn LeRoy's direction, a glossy melodrama that unfortunately has never made its way to video. Well worth watching, so catch it if you can on one of the cable stations.

I was at my Grandmas and I thought this would be another tedious movie like we usually watch every Friday night. *groan* Actually, I was pleasantly surprised at "Escape". I think this a terribly underrated movie (I'd never even heard of it, yet it impressed me a lot - and that's hard to do for a 15-year-old). I had also known of Norma Shearer, but this was my first time seeing her in a movie and she was truly excellent. She really stands out from everyone.

Despite some rather far-fetched plot twists and some wooden acting (mainly from Robert Taylor), it's a very good film (highly accredited to Norma Shearer) and should be more remembered today.

Robert Taylor is in Germany in search of his mother, Alla Nazimova. Once a prominent stage actress, she had retired to the United States while keeping her German citizen. Finally, she recently returned to Germany to sell her house and has disappeared. Finally he learns that she is in a concentration camp, about to be executed for treason. Taylor asks casual acquaintance Norma Shearer to help. She is an American-born countess who runs a girl's school and is the mistress of General Conrad Veidt.

It's based on a novel by Grace Zaring Stone published under a pseudonym. By 1940, the situation in Germany had become clear enough that Hollywood was abandoning it as a market. Even so, people were afraid; Franz Waxman's score is uncredited.

This being a movie version of a novel, some things are obviously missing. Veidt's character has gaps all the way through, indicating a lot was left out. Instead, Mervyn Leroy concentrates on his players' emotions; Taylor gives a fine performance as a terrified man, and Miss Shearer is up to her best standard, even if Felix Bressart gives one of his poorest performances.

"Escape" represents the few movies Hollywood was making before America entered the war in 1941. This movie was Hollywood's way to ease into the war. They made two endings: one for America and one for the international market (they were already fighting in a war). The international ending makes more sense. You can see the movie with both endings on Turner Classic Movies. It is not on video - too bad. The movie is over dramatic, but in an intriguing way, interesting to watch.

Norma Shearer and Robert Taylor are an unlikely romantic couple but it works. This is Ms. Shearer's second best performance after "Marie Antoinette". She is luminous and beautiful in this role. After this movie, she made a couple of terrible comedies and retired in 1942.

Shearer's other co-star, Conrad Veidt as her Nazi boyfriend, suits her better in this movie because they are closer in age and have the same elegance and smooth-cultural speaking voices. However, Taylor provided some needed humorous remarks in the movie. The supporting cast is perfect, headed by Alla Nazimova, in her best speaking role.

This film probably should have been made either five years earlier or twenty years later. That way, it would have been able to delve more deeply into the ambiguities of the Norma Shearer/Conrad Veidt relationship, by far the film's most interesting aspect. As it is, this 1940 production, made just before the United States entry into WW2, is largely an anti Nazi propaganda piece which was fine for fighting isolationism but which today rings a bit too, well, propagandistic and results in too little Shearer and way too much Rat Fink Bob yelling at numerous scared Germans to help him find his mom and scolding them for their complicity. And when he does find her (played by an over the top Nazimova, as if she thinks she's still in silent pics) we have a jerry rigged and cockamamie scheme to fake her death via coma cooked up by a concentration camp doc with a conscience (as if), a character out of both left and right field. The result is a film that straddles the C plus/B minus line and which is pulled to the latter thanks to the scenes of Shearer and her lover/protector Veidt, scenes which are notable for their sexual frankness, certainly unusual for a movie made under the code, as well as Shearer's refusal to be PC, most notably expressed in the final scene.

This is an excellent film with added historical value. The script, cinematography, musical score, direction and acting of "Escape" are all outstanding. It would score a "10" but for the studio set "feel" of the Alpine scenes at times. I agree with those who think Robert Taylor's performance was his best. I have enjoyed Taylor in many of his movies, but never thought of him as much of an actor from his later work. He was always the calm, reassured or easy going good guy. But in this film, he shows the emotions of someone who found himself in an unbelievable, frustrating and frightening situation.

In the early scenes, I found myself saying, "Wake up Taylor! How naïve can you be?" Then it occurred to me that since WWII we have had the advantage of hindsight about the cruelty, barbarism and atrocities of the Nazis. Of course, Taylor's character would be dismayed by his mother's disappearance. Of course, he would be angry and show disbelief in finding out she was imprisoned for selling her home and transferring the money to a bank in New York. So, the film scores highly for bringing me, and many other viewers, into the drama in this way.

Norma Shearer, Conrad Veidt and the rest of the cast are all excellent. Perhaps some of the sense of reality of this film comes across from the portrayals by four actors in this film who fled Nazi Germany after Hitler's rise to power. All were film or stage actors in Germany before Hitler's time. Conrad Veidt, who played the general, is the biggest of these names. He fled Germany with his Jewish wife in 1933. Felix Bressart, who played Fritz, left Germany in 1936. And Albert Bassermann, aka Dr. Henning, fled Germany in 1939 with his Jewish wife Elsa. She played his wife, Mrs. Henning, in this film.

Some reviewers have noted that the term "Nazi" isn't even used in the script; nor is there reference to Hitler by name. That surely reflects the cautiousness of Hollywood and the U.S. at the time. Today, we should remember that right up until the December 7, 1941, bombing of Pearl Harbor, the strongest U.S. sentiment was pacifist. Most Americans did not want us to go to war, even on the side of the Allies. "Escape" came out in theaters in September, 1940. Although it was still 15 months before Pearl Harbor, it was a year after the blatant and unmitigated invasion of Poland by Germany and the Soviet Union. The book on which the film is based, was published in 1939. The author, Grace Zaring Stone, used a pen-name, Ethel Vance, out of concern for her daughter who was still living in Europe at the time.

The movie opens with a short script of a scene: "Outskirts of a town in the Bavarian Alps, 1936." Hitler took power in January, 1933, and soon began to establish concentration camps for "political" prisoners. These included people who disagreed with, criticized, or posed a threat to the Nazi party and regime. Thousands of German clergy, educators, and other individuals were imprisoned and died in those camps. Within a few years, they began to receive prisoners from other countries and Jews, before the Jewish extermination camps were opened.

The very first such camp was Dachau in Bavaria – just 10 miles northwest of Munich. I visited that site while serving in the U.S. Army in Germany, in 1963 – before it was opened as a memorial. I saw the crematorium ovens and the mass graves. So, the actors who fled the Nazis and who were in the cast of this film, all knew about Dachau and its likes. And, the world too, knew about the oppression and barbarism of the Nazis, well before the start of World War II.

Why is that significant with this film? Because I think the production of "Escape" by MGM showed some grit and courage to inform the public about the truth of what was happening under Nazi Germany. Especially when public opinion – and that of our government and civic leaders – was so divided. There can be little doubt that "Escape" is also propaganda. It is clearly aimed at influencing the viewing public against the Nazi regime of Hitler. Can anyone argue that that's not the way it should have been – with the truth and reality of what the propaganda shows and tells?

"Escape" is one of the few films made about Nazi Germany in the 1930s. It has historical value for that reason, as well as for its showcasing the life and fears of the German people in the early years of Nazism. Besides, it's an interesting, intriguing and entertaining film overall.

Norma Shearer's name is above the title, but she actually only plays a supporting role.

It is striking that the leading role, next to Robert Taylor, is played by Philip Dorn, a Dutch actor who played in Dutch films in the 1930s under the name Frits van Dongen.

Exciting film about a son who travels to Nazi Germany in 36 to free his mother, the part where he has to find out where she is in the beginning is the most believable, after that it becomes more of a thriller anex drama story with an original idea as a plot to to be able to free her.

Of course it could never work out that way in real life, but a happy ending to this drama is of course so nice.

A trifle implausible but involving thriller with one of Norma Shearer's best performances. Holding the grand lady theatricality that often mars her work in check she contains her growing concern for the situation she suddenly finds herself in to furtive glances and well controlled agitation. If only Robert Taylor had exercised the same restraint. It's understandable considering his plight that he would be overwrought but he pitches his performance too high and comes across somewhat unhinged at points. Nazimova has one of her better sound film roles and her grandness suits the part of Taylor's mother well.

This kind of picture relies a great deal on an effective villain and this film has an excellent one in Conrad Veidt. Representing the Nazi regime he's not presented as a one note monster which makes him all the more dangerous, a once fastidious man lost to ideology. Perhaps it's his skill but some of Norma's best scenes are with him. Bonita Granville also makes an impression as a thoughtlessly vicious Hitler youth.

A picture made before America entered the war but designed to raise awareness of the crisis ahead on that basis it is very effective, fortunately it is also a substantial, cogent entertainment.

In 1936 Germany, handsome American traveler Robert Taylor (as Mark Preysing) arrives to search for his mysteriously disappearing mother Alla Nazimova (as Emmy Ritter), an actress who has been sentenced to death after breaking property laws and harboring German refugees. Taylor learns Ms. Nazimova is being held in a Nazi concentration camp. Like his mother, Mr. Taylor finds the country Germany has succumb to the authoritarian rule of a brutal Adolf Hitler…

Taylor receives little help from frightened Germans, but has better luck with finishing school headmistress Norma Shearer (as Ruby von Treck), the attractive American widow of a German Count. The two are mutually attracted, but she is also being courted by Nazi General Conrad Veidt (as Kurt von Kolb). The two are practically married. Ms. Shearer joins Taylor in a dangerous plot to get mother Nazimova out of the country before her scheduled execution…

Spiteful of some skittish plot points, "Escape" creeps up on you…

It's one of the better Hollywood-produced World War II dramas, with MGM and director Mervyn LeRoy capturing the horrific accentuation of Nazi consciousness over Germany with remarkable accuracy. Mr. LeRoy paces it accordingly; slow-starting suspense parallels the film's encroaching danger. Credit must be awarded novelist Grace Zaring Stone (writing as "Ethel Vance" to protect her own German relation), plus adapters Arch Oboler and Marguerite Roberts.

Highlighted by his tearful reading of a "farewell" letter, Taylor performs exceptionally; this is one of his best roles. In her last great film, Shearer is appropriately regal, classy and misty-eyed. The supporting cast is so good, it's strange to see Mr. Veidt and Nazimova did not receive "Academy Award" nominations for their work. Absent from films since 1925, "silent" screen actress Nazimova stages an especially noteworthy comeback. Like she, the film is a sleeper.

******** Escape (10/31/40) Mervyn LeRoy ~ Robert Taylor, Norma Shearer, Conrad Veidt, Nazimova