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5 Great Prison Escapes

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"Killer Escapes from Psych Hospital with Survival Gear," read the headline in our local newspaper. I prefer my local news to focus on Little League scores and the status of library construction. I read on.

"A manhunt is underway for William Enman, a dangerous escapee from Ancora Psychiatric Hospital in Winslow, Camden County (NJ), with authorities concerned he could return to Morris County where he killed a father and his 4-year-old son in 1974."

Enman was found yesterday -- well, he returned to the hospital grounds himself. So much for the great escape. But this episode got me thinking about prison breaks. In our third annual '10' issue, Jim Noles wrote a terrific piece recounting some of the more memorable ones. Here are five of them.

1. Ghasr Prison, Tehran, Iran

On December 28, 1978, the Iranian government arrested Paul Chiapparone and Bill Gaylord, two executives of Texas-based Electronic Data Systems Corp., who were working overseas at the time. The Iranians accused EDS of trumped-up bribery charges and threw the two men into Tehran's notorious Ghasr Prison. Despite American concern for Chiapparone and Gaylord, the Iranian revolution against the Shah grew more and more chaotic, and the United States government seemed powerless to free them.

Enter EDS founder (and sometimes presidential candidate), H. Ross Perot. Taking matters into his own hands, Perot contacted retired Army Colonel Arthur "Bull" Simons, a Special Forces hero who had led a raid on the Son Tay POW camp during the Vietnam War, and asked him to rescue his two employees. Refusing payment for his services, Simons took a volunteer team of seven civilian EDS employees to Tehran, where they set about plotting a rescue. But before they could spring into action, Iranian revolutionaries stormed the prison. Hundreds of prisoners fled in the confusion, including Chiapparone and Gaylord. Shortly thereafter, they linked up with their would-be rescuers at Tehran's Hyatt Hotel and then escaped overland to Turkey with the aid of an Iranian EDS employee. Inspired by the unbelievable rescue, best-selling thriller writer Ken Follett took his first turn at nonfiction, penning On Wings of Eagles and proving that truth can, in fact, be stranger than fiction.

2. States Model School, Pretoria, Natal

This particular escape joins the ranks of history's greatest not because of elaborate planning or daring breakaways. Instead, its infamy is solidified by what might have later happened on the future stage of world history had it not occurred.

On November 15, 1899, Boer fighters in the colony of Natal (now part of South Africa) ambushed a British armored train, and, in the ensuing firefight, captured a British war correspondent for the Morning Post. To their delight, the new captive was the brave (some would say foolhardy) and adventurous son of a British lord—a catch with a great deal of leveraging power. But nearly a month later on December 12, the Boers' prize escaped the school in which he was imprisoned. Despite a price on his head, the plucky escapee successfully stowed away onboard a train, slipped to safety into Portuguese East Africa (now Mozambique), and made international headlines. Within a year, the former prisoner of the Boers had returned to England and embarked on a political career that landed him a seat in Parliament. It also eventually got him a spot at 10 Downing Street, where he served as prime minister of Britain during World War II. His name, of course, was Winston Churchill.

3. Yakutsk, Siberia

When Joseph Stalin's Red Army joined in Hitler's attack on Poland in 1939, the Russians bagged thousands of Polish soldiers as prisoners. Stalin promptly ordered hundreds of these men executed, while dispatching the rest to his brutal gulag labor camps in Siberia. Among those imprisoned was cavalry officer Slavomir Rawicz. While in Siberia, the resourceful Rawicz befriended the camp commissar's wife, and with her help, he and six other prisoners managed to escape during a blinding snowstorm.

A journey of epic proportions followed. A Polish teenage girl who had escaped her own camp joined Rawicz's band, and the ragtag group skirted Lake Baikal, slipped over into Mongolia, traversed the Gobi Desert, and crossed the Himalayas. After a journey of 4,000 miles, the Polish officer and his four fellow survivors staggered into British-controlled India, finally free. Amazingly, the irrepressible Rawicz soon returned to Europe to again battle the Germans. Rawicz's memoir, The Long Walk, continues to sell well, even though his amazing story has its doubters (some of whom point out its similarity to the Rudyard Kipling story "The Man Who Was").

4. Libby Prison, Richmond, Virginia

During the American Civil War, the Confederate government turned Richmond's three-storied Libby & Son Ship Chandlers & Grocers warehouse into what became known as Libby Prison. Not long thereafter, they crammed some 1,200 Union officers into it, many of whom, not surprisingly, spent their stays planning an escape.

But of all the break-out attempts at Libby, the most successful (and most elaborate) was masterminded by Colonel Thomas E. Rose. Using makeshift tools, he and a few fellow inmates tunneled down through a chimney, out of the prison's rat-infested cellar, underneath a vacant lot, and up into a shed some 50 feet away. Confident in his secretive route, the colonel returned to the prison on February 9, 1864, and led 15 other prisoners through the narrow tunnel and out into Richmond's unsuspecting streets. Encouraged by Rose's success, 93 other prisoners quickly squirmed their way to freedom. Of those, an impressive 59 eventually returned to Union lines, making it the largest prison escape of the war. Although two officers drowned in the attempt, and the rest were recaptured, the Confederates couldn't help being impressed by their enemy's feat. The Richmond Examiner praised Rose's "scientific tunnel" and declared his breakout to be an "extraordinary escapade."

5. Alcatraz, San Francisco, California

Over the course of Alcatraz's three decades of operation as a federal prison in San Francisco Bay, it earned a fearsome reputation as America's escape-proof prison. But that didn't deter the dozens of inmates who attempted to flee "The Rock." Officially, none of these men succeeded, and at least seven died trying. But if any did pull it off, they were Frank Morris, John Anglin, and John's brother Clarence.

With the assistance of fellow inmate Allen West, the three men worked for months to carefully enlarge the vent holes in their cells to clear a way to the prison's roof. On June 11, 1962, after leaving carefully crafted dummy heads in their beds to fool prowling guards, they slipped out of their cells and, under the cover of darkness, reached the island's rocky shore. Relying on rafts made of their prison raincoats, Morris and the Anglin brothers entered the cold waters of San Francisco Bay to paddle for the mainland.

The following morning, Alcatraz guards discovered their absence and a massive manhunt ensued. But the three convicts were never re-captured. Although the FBI eventually concluded that they must have drowned, their bodies were never recovered. The resulting "what if" scenarios spawned the 1979 Clint Eastwood movie Escape from Alcatraz and, less directly, the annual Escape from Alcatraz triathlon in San Francisco. In the aftermath of the 1962 "escape" event, the federal government closed down Alcatraz the following year.

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Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Ernest Hemingway’s Guide to Life, In 20 Quotes
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Central Press/Getty Images

Though he made his living as a writer, Ernest Hemingway was just as famous for his lust for adventure. Whether he was running with the bulls in Pamplona, fishing for marlin in Bimini, throwing back rum cocktails in Havana, or hanging out with his six-toed cats in Key West, the Nobel and Pulitzer Prize-winning author never did anything halfway. And he used his adventures as fodder for the unparalleled collection of novels, short stories, and nonfiction books he left behind, The Sun Also Rises, A Farewell to Arms, Death in the Afternoon, For Whom the Bell Tolls, and The Old Man and the Sea among them.

On what would be his 119th birthday—he was born in Oak Park, Illinois on July 21, 1899—here are 20 memorable quotes that offer a keen perspective into Hemingway’s way of life.

ON THE IMPORTANCE OF LISTENING

"I like to listen. I have learned a great deal from listening carefully. Most people never listen."

ON TRUST

"The best way to find out if you can trust somebody is to trust them."

ON DECIDING WHAT TO WRITE ABOUT

"I never had to choose a subject—my subject rather chose me."

ON TRAVEL

"Never go on trips with anyone you do not love."


Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. [1], Public Domain, Wikimedia Commons

ON THE RELATIONSHIP BETWEEN INTELLIGENCE AND HAPPINESS

"Happiness in intelligent people is the rarest thing I know."

ON TRUTH

"There's no one thing that is true. They're all true."

ON THE DOWNSIDE OF PEOPLE

"The only thing that could spoil a day was people. People were always the limiters of happiness, except for the very few that were as good as spring itself."

ON SUFFERING FOR YOUR ART

"There is nothing to writing. All you do is sit down at a typewriter and bleed."

ON TAKING ACTION

"Never mistake motion for action."

ON GETTING WORDS OUT

"I wake up in the morning and my mind starts making sentences, and I have to get rid of them fast—talk them or write them down."


Photograph by Mary Hemingway, in the Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston., Public Domain, Wikimedia Commons

ON THE BENEFITS OF SLEEP

"I love sleep. My life has the tendency to fall apart when I'm awake, you know?"

ON FINDING STRENGTH 

"The world breaks everyone, and afterward, some are strong at the broken places."

ON THE TRUE NATURE OF WICKEDNESS

"All things truly wicked start from innocence."

ON WRITING WHAT YOU KNOW

"If a writer knows enough about what he is writing about, he may omit things that he knows. The dignity of movement of an iceberg is due to only one ninth of it being above water."

ON THE DEFINITION OF COURAGE

"Courage is grace under pressure."

ON THE PAINFULNESS OF BEING FUNNY

"A man's got to take a lot of punishment to write a really funny book."


By Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. - JFK Library, Public Domain, Wikimedia Commons

ON KEEPING PROMISES

"Always do sober what you said you'd do drunk. That will teach you to keep your mouth shut."

ON GOOD VS. EVIL

"About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after."

ON REACHING FOR THE UNATTAINABLE

"For a true writer, each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed."

ON HAPPY ENDINGS

"There is no lonelier man in death, except the suicide, than that man who has lived many years with a good wife and then outlived her. If two people love each other there can be no happy end to it."

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