La Bandera (released in the United States as Escape from Yesterday) is a 1935 French drama film directed by Julien Duvivier and starring Annabella, Jean Gabin and Robert Le Vigan.

Now at the end of his resources, having been rejected as a sailor on a merchant ship, he decides join the Spanish Foreign Legion on seeing a placard.

Many of his fellow legionnaires have joined from destitution (and their pay will be five Pesetas), but the Frenchman Fernando Lucas, played by Robert Le Vigan, has money not only for cigarettes but for barhopping.

Gilieth follows the advice from his best friend Mulot (Milo in the Spanish issue), played by Raymond Aimos, to pick Lucas pocket in the night to read it; but fails.

[1] Thus Gilieth feeds a newspaper clipping that he had been carrying around, announcing a 50,000 Franc reward for the capture of the culprit of the "Crime of Rue St-Vincent", to the swine in the base pen; hoping to get rid of the dark memories it brings.

Shortly after, his unit of legionnaires the bandera is ready to move south, Gilieth is able to convince his captain, played by Pierre Renoir, to have Lucas transferred to another location on account of violation of personal space.

There he meets Aisha la Slaoui, a native who is portrayed by Annabella with marks on her forehead and chin; and immediately falls in love with her.

He proposes to her as soon as he finds it appropriate, and their gypsy wedding ceremony involves their mutually making a cut in their mate's forearms and licking blood from it.

The only two who remain are Gilieth and Lucas, as the main force charges up the hill, their machine guns blazing to sweep the enemy from their positions.

Writing for The Spectator in 1935, Graham Greene praised the film, calling it "an intelligent melodrama saved from triteness by the character of the police spy".

Greene particularly praised the "effective opening" scene of the film, offering it as "an excellent illustration of the main advantage the film possesses over the ordinary stage play; the means it has to place the drama in its general setting" – an advantage Greene attributed to the "exactitude and vividness" of the camera when compared to prose.