Escape to Paradise

Wealthy playboy Kent Taylor (as Richard Fleming) arrives in "Rosarita", on a business and pleasure cruise. In order to escape the amorous clutches of pushy Joyce Compton (as Penelope), he hops on a motorcycle-propelled taxi cart helmed by boy singer Bobby Breen (as Roberto Ramos). Mr. Breen is saving his pesos to buy a real taxicab. He speeds Mr. Taylor to the "best hotel in South America" where Taylor encounters pretty Senorita Marla Shelton (as Juanita). Her father, Pedro de Cordoba (as Don Miguel), has a successful maté (tea) plantation; both business and daughter are threatened by conniving Rudolph Anders (as Alexander Komac).

With Breen's help, you can expect it to end accordingly. Way down south of the border, Canadian-born Breen is charming and convincing. His "Tra-La-La" was the film's main hit. A fine singer throughout his life, Breen was a favorite of The Beatles; he can be found between the "real" George Harrison and Marlene Dietrich on your "Sgt. Pepper's Lonely Hearts Club Band" album.

***** Escape to Paradise (12/22/39) Erle C. Kenton ~ Bobby Breen, Kent Taylor, Marla Shelton, Rudolph Anders

Mr. Fleming is a man whose father is very rich. While he's on a cruise in South America, he's constantly annoyed by a lady who won't take no for an answer. So, to get away from her, he decides to stay in some town until she gets back on the ship. In the meantime, he becomes infatuated with a local lady. Now here's where it gets pretty weird. To impress her father, he tells him he's in the country to purchase mate (tea) to bring back to the States. And, with some 'help' from a local boy (Bobby Breen), the lady's father thinks Fleming is out to buy ALL his tea—tons and tons and tons of the stuff. It's all a semi-wacky mess and Breen is mostly along to provide a bit of supporting acting and sing a few songs. As usual, Breen's voice is amazing considering his age—and his Hispanic accent isn't bad, actually. Like all of Breen's films, it's pleasant and forgettable. And, as Bobby is a bit older in this one, the film lacks the usual Breen cuteness. You can't blame Breen—he was just nearing puberty--and this turned out to be one of his last films (probably because of his age)! So will you like it? I really can't say for sure, as Breen's films are VERY unusual and old fashioned musicals. I find them hokey but charming. Regardless, it's not a bad time-passer but also no major surprises or thrills.

Have seen 8 of the 9 Breen films (missing Doughboy) and they are all charming and enjoyable in their own ways.

But this one uses Breen's talents as a growing adult.

The storyline is as good as the Grable/Faye musicals of 20th Century Fox.

A good job by all.

I wonder if Rick realises what he's made possible here - and how many Archive users will hurry past 'ESCAPE TO PARADISE', unaware they're watching the fading moments of a genuine phenomenon.One more dumb movie ('JOHNNY DOUGHBOY')and that, by and large, would be it for child star Bobby Breen. In this fairly beat up copy - none of the Breen films left extant are less than raddled - the boy is on the brink of his first encounter with a razor, he's moved from cherub to gangly teenager and we can understand why he never made it past puberty yet the all too brief version of 'Jurame' remains high among the most meaningful love songs ever recorded. 30 plus Eddie Cantor shows from the mid 30's give a clearer view of what made this kid so unique and while 'ESCAPE' will be an unknown to the vast majority, it should be treated as a repositary of a rare talent in very much the same way as the junk featuring Elvis Presley is. With any luck, Rick has some of the others stashed away so prepare to ignore the plot and regard the talent. If any name from the 30's deserves to be back up in lights on some reputable label, this is most likely it.

Young Bobby Breen's career as a boy soprano movie star ends with Escape| To Paradise which is set in the fictional South American country of San Jacinto. Bobby's an enterprising soul who operates a motorcycle with sidecar that he uses to chauffeur the tourists around. It's his hope to get a real taxi as driving laws in South America are a lot more relaxed than they are here.

Enter rich playboy Kent Taylor who is described as being on a permanent vacation. He and Breen meet when Taylor is trying to get away from fellow tourist Joyce Compton. In getting away from her Breen dumps him literally at the table of Marla Shelton the daughter of a local tea plantation owner. Before long Taylor with his money is heavily involved with the local economy to impress Shelton.

Young Bobby shot up quite a bit since his screen debut in 1936. But soon his voice would change, he'd have a Peter Brady moment, and his career would evaporate. Breen did one other film three years later after this one where he was just a supporting player.

Bobby's films were released by RKO Pictures, but he had a good agent who worked out a deal where Sol Lesser produced the films with Breen getting a cut of the box office. He was not your normal contract star. Of course that only lasted as long as his soprano voice did.

This copy I saw was badly in need of restoration. The sound synchronization was non-existent toward the end. And Taylor was pretty bland. One really didn't have a rooting interest in whether he got Shelton or not.

Not a high note even Breen's octave range to end his film career on.