ByRyan Adam Fuzessery, writer at Creators.co
I moved to LA to act, write and direct. Im a huge film aficionado and when i have time i share what interests me on here, enjoy.
Ryan Adam Fuzessery

The 1950s in Los Angeles, where boats for cars roamed the legendary streets that provided ground for the every day hustle and relentless search for fame and fortune under the sunny state of California.

To Richard Hudson, played by the always smooth talking Patrick Warburton, its not the lack of money bothering him, its the boredom. Very soon after buying a used-car dealership and becoming weary of the responsibilities that come with it, he decides to write a movie out of the blue in hopes to give some meaning to his dull life. So what better way to start a writing career off by debuting a script that centers around a truck driver who accidentally runs over a child and dies fending off a army of police officers? Well to Hudson, its genius and deserves to be made and this movie is 'The Man Who Got Away'.

In hopes of this new venture, he quickly assembles a cast and acquires help along the way while under a low budget that consists of his father-in-law (Paul Malevich), his former ballerina mother (Lynette Bennett), his more than curious stepsister (Marilyn Rising) and his secretary who later gets more than she bargained for (Emily Newman), all while hoping the final product meets a studio execs high standards who runs Mammoth Pictures, who is referred to as The Man (Ernie Vincent).

I have an idea...
I have an idea...

Inspired by the pulp novel from Charles Willeford, at a cleverly placed 90 minute runtime (inside joke, you'll see), the films writer and director Robinson Devor's delivery is sly, witty, odd and shot beautifully while the black and white contrast projects the perfect film noir look that was targeted as it was well achieved and appreciated. The rich images displayed on screen accompained by a fitting score seemingly tailor made to fit with perfection was just another piece in itself to embrace.

It also comes off at times slightly in remembrance to the French New Wave homages from the 50's that took after the B-movies and dime novels from the 40's, in a well executed manner. It works.

Theres a scene where Hudson's pitching the movie to his Father-in-law/producer and the following frames that transpire are menacing in tone yet present the terrifying visualization of the carnage that can come to the screen if this is made as he's really talking to us and the camera, making it even more personal to invest in this crazy idea of a film.

Its not your usual run of the mill, generic's here, strange is a good word to somewhat describe it loosely but thats not a bad thing at all. Think The Big Sleep (1946) crossed with Eraserhead (1978) possibly. The reason it works is Warburton, who has a real suave appeal/private-eye kind of presence. He's like he's channeling a little bit Bogart, a little bit Connery from Bond and somehow he makes the partial semi psychotic Hudson a forgivable and warm character, almost innocent even. Warburton was made for this role and you can tell he had fun doing it which makes the experience even better.

Staying cool
Staying cool

As i mentioned earlier on, this is a movie thats been out for 15 years, so The Woman Chaser was something for those who didn't mind looking for a little bit to find it but now with the launch of it on Netflix (available now), you wont have to look very far at all to enjoy it.

*For more info on The Woman Chaser, please click here to access its site

*For my one on one interview with Mr. Patrick Warburton click here


Latest from our Creators