Detour (1945) Crime, Mystery, Film Noir | Tom Neal, Ann Savage |
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On a quest for love, he stumbled into a maze of Betrayal… Peril… and Intrigue! After his girlfriend Sue leaves New York to advance …
I had never heard of Tom or Ann but i went on Wikipedia to read about them- extremely interesting read.Great movie!!
Fave
Why it is one hour long?
Otras PASTA,LA UNICA QUE CONOZCO ES LA DENTAL Y CON LA QUE SE HACEN FIDEOS, Otro PILLAR,SE NECESITA TODO UN DICCIONARIO PARA ESTOS DOBAJES😱
Haber que pasa con el doblaje , que SON 10 PAVOS ,PARA LOS PAVOS SON AVES.QUE DESASTRE CON EL DOBLAJE ESTROPEAR UNA GRAN PELÍCULA
I love the fashions from this period. That's a great part of my joy in watching these old films. Seeing the cars, the decor and the fashions. And there's always a plot. I much prefer older films.
As I reach my golden years I am realizing nothing good happens in Arizona. Including trees.
Wow, film noir at its darkest, interesting movie, thank you for sharing.
A masterpiece
Les dernières paroles du personnage incarné par Tom Neal, annoncent la destinée de l'acteur, condamné quelques années plus tard pour l'homicide involontaire de sa femme. Incroyable fatalité !!
Demaciado buena, 😮 una trama impresionante
Great classic ❤! The variety of subtitles is amazing and helps a lot . Thanks a ton!❤️
This movie was a huge influence on Lost Highway.
TCM's Eddie Muller sent me here.
How did Haskel die? This story don't make sense. A man dies and you don't call the police to prove your innocent?
Its been many a year but i do remember this film! its a great cast, excited to see it again! thanks CCC 🎬🎥😀
Cheers All
SPOILER ALERT!!
My review from a few years ago.
"Saw DETOUR on Noir Alley last night. If you usually root for the underdog as I do, it's easy to like the director Edgar Ulmer. Like Joseph Lewis, he frequently had to work with small budgets and that brought out the best in his creativity. Detour is a testament to this–how a director can make gold out of rocks.
Just about the most bleak, claustrophobic, downbeat, nightmarish, fatalistic noir ever made. And in the midst of all this is one of the most riveting female performances in American cinema of the 40's. Watch her hidden soft side in a scene at the apartment. Ann Savage's tour de force performance should have at least been nominated for an Academy award. But fat chance of the Academy even giving a thought to a movie such as this. The abrupt, downbeat, complaining ending is perfectly fitting for this low budget masterpiece
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Here are three different views 1. " Using unknown actors and filming with no more than three minimal sets, a sole exterior (a used-car lot) to represent Los Angeles, a few stock shots and some shaky back-projection, Ulmer conjures up a black, paranoid vision, totally untainted by glamour, of shabby characters trapped in a spiral of irrational guilt."
.2. " Detour remains a masterpiece of its kind. There have been hundreds of better movies, but none with the feel for doom portrayed by Ulmer."
3. From Roger Ebert. "Do these limitations and stylistic transgressions hurt the film? No. They are the film. “Detour” is an example of material finding the appropriate form. Two bottom-feeders from the swamps of pulp swim through the murk of low-budget noir and are caught gasping in Ulmer's net. They deserve one another. At the end, Al is still complaining: “Fate, for some mysterious force, can put the finger on you or me, for no good reason at all"
I found these facts about the film interesting.—-In 1972, Ulmer said in an interview that the film was shot in six days. However, in a 2004 documentary, Ulmer's daughter Arianne presented a shooting script title page which noted, "June 14, 1945-June 29. Camera days 14." Moreover, Ann Savage was contracted to Producers Releasing Corporation (PRC) for the production of Detour for three six-day weeks, and she later said the film was shot in four six-day weeks, with an additional four days of location work in the desert at Lancaster, California.
While popular belief long held that Detour was shot for about $20,000 Noah Isenberg, in conducting research for his book on the film, discovered that the production's final cost was closer to $100,000.
As detailed in Savage Detours: The Life and Work of Ann Savage, great care was taken during the post production of Detour. The final picture was tightly cut down from a much longer-shooting script, which had been shot with more extended dialogue sequences than appear in the released print. The soundtrack is also fully realized, with ambient backgrounds, motivated sound effects, and a carefully scored original musical soundtrack by Leo Erdody, who had previously worked with Ulmer on Strange Illusion (1945). Erdody took extra pains to underscore Vera's introduction with a sympathetic theme, giving the character a light musical shading in contrast to her razor-sharp dialogue and its ferocious delivery by Ann Savage.
With reshoots out of the question for such a low-budget movie, director Ulmer put storytelling above continuity. For example, he flipped the negative for some of the hitchhiking scenes. This showed the westbound New York City to Los Angeles travel of the character with a right-to-left flow across the screen, though it also made cars seem to be driving on the "wrong" side of the road, with the hitchhiker getting into the car on the driver's side.
The car owned by the character Charlie Haskell and later driven by Al Roberts is itself an integral part of the film's plot and is certainly the most memorable prop item in the production. The automobile is a customized 1941 Lincoln Continental V-12 convertible, a base model of a "Cabriolet" but one that features bolted-on rear wheel-well covers and some exterior components added later from Lincoln's limited 1942 version of the same model Reportedly, the production budget for Detour was so tight that director Ulmer decided to use this car, his "personal car", for the cross-country crime drama.
Detour was generally well received on its initial release, with positive reviews in the Los Angeles Times, The Hollywood Reporter, Variety in other major newspapers and trade publications. Contemporary screenings of Detour were also not confined to grindhouse theaters; they were presented at top "movie houses". For example, in downtown Los Angeles in May 1946, it played at the 2,200-seat Orpheum in combination with a live stage show featuring the hit Slim Gaillard Trio and the Buddy Rich Orchestra. Business was reported to be excellent despite a transit strike.
The film was released to television in the early 1950s, and it was broadcast in syndicated TV markets until the advent of mass cable systems. TV reviewers casually recommended it in the 1960s and 1970s as a worthwhile "B" movie. Then, by the 1980s, critics began citing Detour increasingly as a prime example of film noir, and revival houses, universities and film festivals began presenting the crime drama in tributes to Edgar G. Ulmer and his work. The director died in 1972, unfortunately before the full revival of Detour and the critical re-evaluation of his career occurred. Tom Neal died the same year as Ulmer, but Ann Savage lived long enough to experience the newfound acclaim. From 1985 until just two years before her death in 2008, she made a series of live appearances at public screenings of the film.
Your thoughts? I'm sure many here have opinions of this movie"
Tom Neal. Beat the shyte out of Franchot Tone and nearly killed him. The fight was over Barbara Payton and destroyed them Neal and Payton- the bad girl of Hollywood was solidified as such. Neal later murdered his young wife in California and went to prison.
This is a great movie.
Thank you C C C for another of your special choice for an excellent movie 🎥👋🧚♂️🐧
Ultimate Ann Savage.
Good movie 😊