I was a bit shocked to realize that I hadn’t reviewed Escape from New York for this site.  Leonard’s reviewed it.  Jeff’s reviewed it.  I’ve reviewed quite a few Italian films that were inspired by Escape from New York.  Last year, I devoted an entire day to how much I love Kurt Russell.  I’ve shared John Carpenter’s theme music, more than once.  I’ve reacted to Mamdani’s election by telling my friends that it’s time to escape from New York.  I’ve lost track of the number of times that I’ve told Leonard that it is “Time to leave the Bronx,” even though he doesn’t live in the Bronx.  (What do I know?  I live in Texas.)  But I’ve never actually reviewed Escape From New York.

I love Escape from New York but I have to say that the film itself can’t live up the brilliant poster art.  The first time I watched Escape from New York, I was really disappointed that the Statue of Liberty’s head never appeared in the middle of a street in Manhattan.  If the film were made today, one imagines that the filmmakers would be able to do all sorts of things with the Statue of Liberty.  But Escape from New York was made in 1981, in the days before rampant CGI.  Escape from New York was made at a time when directors had to be somewhat clever and that definitely works to the film’s advantage.  The lack of big time special effects meant that Carpenter had to emphasize character and atmosphere.  Escape From New York might not feature the Statue of Liberty’s head but it does feature an amazing cast and a host of unforgettable characters.  When you manage to get Kurt Russell, Ernest Borgnine, Donald Pleasence, Harry Dean Stanton, Adrienne Barbeau, Lee Van Cleef, and Isaac Hayes all in the same film, there’s no way it isn’t going to be memorable.

We all know the plot.  Kurt Russell plays career criminal Snake Plissken.  (Everyone thought Snake was dead.)  When the President (Donald Pleasence) finds himself trapped on the prison island of Manhattan, Snake is the man who is sent to rescue him.  The fate of the world depends on rescuing the President.  If the President isn’t rescued, it could lead to nuclear war.  Snake doesn’t really care about the fate of the world.  He does care about the fate of himself, however.  He’s been injected with a poison that will kill him unless he receives the antidote in 24 hours.

(The doctor who gives Snake the poison is named Dr. Cronenberg.  Meanwhile, Frank Doubleday appears as a thug named Romero.  Lee Van Cleef’s police commissioner is named Hauk, as in Howard Hawks.  Tom Atkins plays Captain Rehme, as in producer Bob Rehme.  The film may be about the collapse and possible end of the world but John Carpenter’s having fun.  And, of course, so are we.)

The President has been captured by the Duke of New York (Isaac Hayes).  It doesn’t take Snake long to track down the Duke.  But rescuing the President and making it back to safety turns out to be far more difficult and violent than anyone was anticipating.  Snake gets some help, from characters like Cabbie (Ernest Borgnine), Brain (Harry Dean Stanton), and Maggie (Adrienne Barbeau).  Of course, that help is largely due to everyone’s self-interest.  The recurring theme is that no one really cares that much about whether or not the President or even Snake lives or dies.  Maggie loves Brain but, otherwise, there’s not much individual loyalty to be found in this film.  Instead, everyone just cares about getting the Hell out of New York.  In the end, even the President turns out to be a bit of a jerk.

(I do have to say that I absolutely love Donald Pleasence’s performance in Escape from New York.  The “You’re the Duke!  You’re the Duke!  A Number One!” scene?  That was Pleasence at his most brilliant.)

It’s a wonderfully acted and directed film, one that is often darkly humorous.  (While Kurt Russell delivers his lines with a endearing self-awareness, Carpenter has a lot of fun imagining the type of criminal society that would emerge on an isolated Manhattan.)  It’s also a film that understands the power of New York City.  Depending on who you ask, New York either represents the worst or the best of America.  That’s true today and, watching Escape from New York, it’s easy to guess that was probably true in 1981 as well.  There’s a power to the “New York” name and it’s why this film wouldn’t have worked if it had been called Escape From Houston or Escape From Spokane.  (One reason why Escape From LA failed was because the cartoonishness of Los Angeles couldn’t compete with the grit of New York.)  We all know the saying — “New York, New York: If you can make it there, you can make it anywhere.”  This film reminds us that it’s also true that if you can escape from there, you can escape from anywhere.  Escape from New York brilliantly captures the way that most of the rest of country view New York but, by limiting the action to Manhattan, it also presents a story that can be enjoyed by people in Brooklyn, the Bronx, Queens, and Staten Island.  I imagine the film is especially popular on Staten Island.

Escape From New York is a brilliant work of the pulp imagination.  It’s a film that will probably outlive the city.