ada the leading man is my tpye

WasAnnon Slow pace in the most part of the movie.

Freaktana A Major Disappointment

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

weezeralfalfa A better title would have been Escape IN Burma. A Technicolor jungle adventure, starring Barbara Stanwyck, as American teak forest queen Gwen Moore, and Robert Ryan, as American mining engineer/entrepreneur, Jim Brecan. Brecan had a 50-50 partnership with the prince of the local principality. They seemed to mostly mine precious gems, such as rubies. However, the prince was recently shot to death for unknown reason, and Brecan is the prime suspect. Perhaps robbery was a prime motive, as he took a sack of high value rubies with him when he fled into the jungle....... There is conflict over whether the justice system of the British or of the local Swabwa(ruler) should define the fate of Brecan. Cardigan, the British investigator chosen to bring in Brecan, wants a British trial, whereas the Swabwa wants to execute him without a trial, as he appears to be surely guilty. Alternatively, searchers have the right to shoot him dead if he resists arrest.......Brecan steals a horse from the local native policeman, and heads for Gwen's compound, in her teak forest. He claims he's Jim Martin. For some reason, Gwen takes an immediate liking to him, despite it not being clear why he came. Soon, she makes him her manager. When Cardigan shows up and accuses Martin of being Brecan, Gwen can't believe he's a murderer. Cardigan points to Brecan's luger pistol, noting that the bullet taken out of the prince was from a luger. Eventually, Brecan admits that he did shoot the prince, but that he felt he had to, as the prince was better off dead than alive. We would not get a more specific explanation until the finale. Brecan, Gwen , and Cardigan would continue to interact for most of the rest of the film. Gwen didn't want Brecan to kill Cardigan, as that would be a capital offense, should he be declared not guilty of killing the prince. Brecan escaped several times, either from Cardigan, or from thieves, only to be caught again. The Sawbwa's posse was also out looking for Brecan. I'll let you see the film, to find out what Brecan meant by "better off dead than alive". I will say that things turn out well for Brecan and Gwen, as Brecan's excuse, surprisingly, is accepted, both by the Sawbwa, and by Cardigan....... There are occasional shots of jungle animals, mostly Gwen's tame elephants, used in hauling teak logs to the river. However, at one point, her workers refused to venture into the forest, because they claimed the forest tiger spirit had killed a large elephant, and might kill them. Gwen and Brecan took their rifles on a tiger hunt. Gwen was nearly mauled by a tiger after she slipped and lost her rifle. But, Brecan came to the rescue.. Another scary moment is when a large black panther is following Gwen, on her horse......... About the primates that frequented inside and outside Gwen's compound: I saw 2 chimps. Of course, their natural range is confined to central Africa. An orangutan was evident. Again, it's not native to Burma(Myanmar). I also saw what looked like capuchins, native to South America. On the other hand, I didn't see any macaque monkeys, leaf monkeys, nor gibbon apes: all native to Myanmar........Historically, the Sawbwa were hereditary rulers of the semi-independent Shan States, of east Burma...... Apparently, the filming mostly took place in the World Animal Jungle Compound, in California........Robert Ryan's flat personality always bothers me. .......Again, this film is available at YouTube

JLRMovieReviews Barbara Stawyck, Robert Ryan, and David Farrar star in "Escape to Burma," an escapist over-the-top adventure. We open in court and the king is throwing his weight around, telling David Farrar to find Robert Ryan, who has been identified as the one who shot the prince. From the get go, I couldn't stop laughing at the music. It all seemed like an Arabian music video. After ten minutes or so, it got serious and David went on his way through the jungle and vast lands to get his man, and we see Robert Ryan battling the brush (on a stage set, maybe) to run from the law. Along the way, he meets Barbara and makes a conquest. After falling for him, she decided he couldn't possibly be as mean as he's purported to be. So she defends him. Will she fight for her man to the death? Is Robert wrongfully accused? While the film does manage to keep your attention in this anything-can-happen (and will) unintentionally funny and campy film, it still feels like an embarrassment to all considered and is far from the best material that any of the stars have been in. (By the way, anyone looking for quicksand, crocodiles and piranhas won't get them here.) If you love obvious eye-candy adventures, then this is a quick fix for you with no thinking involved.

pete36 The BBC aired this recently and as it was directed by super veteran Allan Dwan I happened to tape it.Ryan plays the typical US macho hero of the fifties, a fightin',shootin'(a Luger no less!) and kissin'guy. Mrs. Stanwyck is the owner of a plantation near Rangoon and she is not to be messed with. Third character is your run-of-the mill British, slightly repressed policeman, on the hunt for Ryan who supposedly has murdered the son of the local potentate.If you are a fan of Dwan's work better skip this one. The only good thing about it is the crisp clear color photography, the rest is pretty embarrassing. Clichéd would be putting it mildly. The script seems to be written in an afternoon and the same can be said of the movie itself.It is a bit unfair to Allan Dwan, as he made countless movies and still turned out some excellent stuff near the end of his very long career, as the classic marine epic "The Sands of Iwo Jima" and the sexy "Slightly Scarlet". So do not judge him on this silly jungle epic.

Alice Liddel It is one of the cliches of mainstream Hollywood cinema that the desire of the hero is limited to two options - a good girl (marriage, security, family, society), and a bad girl (lust, transgression). In this scenario, women are barely people at all, more embodiments of Law and Desire, the socially acceptable and unacceptable. Not the least of this brilliant film's achievements is the way it transfers this cliche to the heroine, making it new and strange. It is the two male characters who represent the two options open to the woman - Robert Ryan is the outlaw, suspected murderer and jewel thief, sexually direct; David Farrer is the policeman, punctiliously obeisant to the law, sexually repressed. Ryan hasn't stepped foot in Barbara Stanwyk's elephant ranch before he's made himself at home, made her frankly voracious and got her talking about 'marriage', which we suspect has little to do with religious ceremonies. Farrer no sooner arrives then he wants to take a man home with him. The film's most striking scene occurs near the climax, in the symbolic space of an abandoned, monkey infested Buddhist temple, the two men grappling like Lawrentian blood brothers, and Stanwyk gaping hungrily on, absolutely thrilled.This central twist is part of the film's wider iconoclasm. Like more renowned peers (Minnelli, Sirk etc.), Dwan takes reactionary material and dismantles it. Firstly, the film offers an odd mish-mash of genres. The film is supposedly set in Burma and its environs, but this is an Orient in the tradition of Powell and Pressburger, the hero of whose 'Black Narcissus' stars here (Farrer). Whereas 'Narcissus' was a work of complete, defiant artifice, 'Escape' offers a disturbing clash between real location footage and cramped studio sets, often within the one scene which, especially in action sequences, has a jarring, alienating effect. The most notable example occurs early on, when Ryan and Stanwyk hunt a marauding tiger - the effect takes us out of the 'realistic' adventure and alerts us to a more symbolic plane. Although the film is set in the east, the three genres it evokes originate much further away. Even though the film is an action adventure - and a very exciting one, full of chases, gun-fights and dangerous animals - it is also a melodrama, about a lonely woman stranded in the middle of nowhere, powerful but so starved of 'companionship' she'll attach herself to the first man who comes along. Some of the lighting effects and careful compositions recall the contemporary melodramas of Sirk. The film also belongs to the jungle sub-genre, full of thick forests and animals being cute. Most important, however, the film is a transposed Western, with Ryan as the outlaw hiding out in Stanwyk's ranch, and Farrer the sherriff sent to being him back. Except, like Ray's 'Johnny Guitar', the colour, the mise-en-scene, the extravagant sexual rituals tend to undermine macho Western self-importance; a female 'Eastern' reflecting back the male Western.As the scene I mentioned earlier suggests - the brawl in the temple - the idea of play figures throughout, with narrative action turned into ritual or theatre, with extras, ceremonial gestures, and, most importantly, an audience. The most alarming of these is Ryan's torture, but throughout there is an emphasis on people watching, usually obscurely, through gaps and grills, or being framed in proscenium arches within the narrative frame. Another motif alerting us to mistrust appearances is the mirror- so often a symbol of metamorphosis or revelation; actual mirrors co-exist with mirroring scenes, for example the symmetrical skulking of Stanwyk and the tiger watched by Ryan (doubly mirrored and reversed in the temple scene)