Rupert Everett's new film, The Escapist, is a gripping prison break drama. Beginning in explosive fashion with the instigation of the escape attempt, the film switches back and forth between two chronologically distinct narratives: the story of the escape and the story behind the escape. The result is an inspired combination of grim realism and comic-book adventure.
The escape attempt is hatched when Frank (played by Brian Cox), an elderly and world-weary inmate, receives his first letter in fourteen years, informing him that his daughter has become a drug addict and that her health is failing. When Frank decides that he must break out and see her before it is too late, a number of other outsiders fall in with him, each having their own reasons for trying to escape.
The prison is an intimidating place, effectively ruled by inmate Rizza (a menacing turn by Damian Lewis) and his obnoxious brother Tony. Drug dealing is rife and the new inmates are subjected to a trial of humiliation and catcalls. The prison guards are mostly complicit in these activities, offering little protection for outsiders and dissenters. In a brutal demonstration of power, Rizza forces a disobedient junkie to cut off his thumb with a knife as an act of penitence. This is one of several jolts delivered to remind the audience that the prison setting is not just there for their entertainment: it is frighteningly real.
There are a number of fine performances in the lead roles. Ralph Fiennes is excellent in the role of Lenny, a menacing, violent inmate who becomes a brave and resourceful hero during the escape attempt. Tony is a memorably revolting villain, played with aplomb by Steve Mackintosh. But it is Brian Cox who deserves the highest praise. The crucial, wordless scene where he comes face to face with his wife in the visiting room is powerfully understated and typifies his performance.
On the other hand from the grim reality of the prison, the escape attempt is a taut and exciting adventure. The escapists use improvised gadgets to make their way through the subterranean caverns that they hope will lead to the outside world. The scenery, from long underground tunnels, to cavernous sewers to a disused underground station is often spectacular and the camaraderie that develops between the five men is deeply affecting.
The two strands of The Escapist, the story behind the prison break and that of the prison break itself, are expertly juggled throughout. There are plenty of twists and turns throughout, and the film often segues between the two narratives at unexpected junctures. I will not attempt to spoil the final twist, but it is one of those great moments in cinema where all sorts of details in the preceding film fall into place (and continue to fall into place when it is all over).
Apparently the prison scenes in The Escapist were filmed in a prison-turned-museum that was restored to its original appearance for the film shoot. It is a superb location, with enclosed walkways criss-crossing the central space and a dramatic spiral staircase that Everett uses to great effect in several set pieces. What struck my friend who accompanied me to the cinema is that there are no windows for the prisoners to look out of, only a skylight in the distant ceiling. Daylight takes on an almost mystical property as the escaped prison inmates strive to escape the subterranean passages adjoining the jail.
The sound and music in The Escapist are also deserving of high praise. The score by Benjamin Wallfisch includes a thunderous theme tune and creates tension by use of frantic percussion. The sounds of the prison by day and by night are exceptionally well done, helping to create a stifling, claustrophobic world that encroaches on the minds of the viewers. By the end you cannot help rooting for the escapists.
The escape attempt is hatched when Frank (played by Brian Cox), an elderly and world-weary inmate, receives his first letter in fourteen years, informing him that his daughter has become a drug addict and that her health is failing. When Frank decides that he must break out and see her before it is too late, a number of other outsiders fall in with him, each having their own reasons for trying to escape.
The prison is an intimidating place, effectively ruled by inmate Rizza (a menacing turn by Damian Lewis) and his obnoxious brother Tony. Drug dealing is rife and the new inmates are subjected to a trial of humiliation and catcalls. The prison guards are mostly complicit in these activities, offering little protection for outsiders and dissenters. In a brutal demonstration of power, Rizza forces a disobedient junkie to cut off his thumb with a knife as an act of penitence. This is one of several jolts delivered to remind the audience that the prison setting is not just there for their entertainment: it is frighteningly real.
There are a number of fine performances in the lead roles. Ralph Fiennes is excellent in the role of Lenny, a menacing, violent inmate who becomes a brave and resourceful hero during the escape attempt. Tony is a memorably revolting villain, played with aplomb by Steve Mackintosh. But it is Brian Cox who deserves the highest praise. The crucial, wordless scene where he comes face to face with his wife in the visiting room is powerfully understated and typifies his performance.
On the other hand from the grim reality of the prison, the escape attempt is a taut and exciting adventure. The escapists use improvised gadgets to make their way through the subterranean caverns that they hope will lead to the outside world. The scenery, from long underground tunnels, to cavernous sewers to a disused underground station is often spectacular and the camaraderie that develops between the five men is deeply affecting.
The two strands of The Escapist, the story behind the prison break and that of the prison break itself, are expertly juggled throughout. There are plenty of twists and turns throughout, and the film often segues between the two narratives at unexpected junctures. I will not attempt to spoil the final twist, but it is one of those great moments in cinema where all sorts of details in the preceding film fall into place (and continue to fall into place when it is all over).
Apparently the prison scenes in The Escapist were filmed in a prison-turned-museum that was restored to its original appearance for the film shoot. It is a superb location, with enclosed walkways criss-crossing the central space and a dramatic spiral staircase that Everett uses to great effect in several set pieces. What struck my friend who accompanied me to the cinema is that there are no windows for the prisoners to look out of, only a skylight in the distant ceiling. Daylight takes on an almost mystical property as the escaped prison inmates strive to escape the subterranean passages adjoining the jail.
The sound and music in The Escapist are also deserving of high praise. The score by Benjamin Wallfisch includes a thunderous theme tune and creates tension by use of frantic percussion. The sounds of the prison by day and by night are exceptionally well done, helping to create a stifling, claustrophobic world that encroaches on the minds of the viewers. By the end you cannot help rooting for the escapists.