Edgar G. Ulmer directed this film about a number of different characters unfolding love, hate, and death problems during an evening in a fashionable Latin nightclub.

Director:

Writers:

(screen play), (original story by) (as Fred Jackson)
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A WWII tale of romance that begins during New Orlean's "Mardi Gras" celebration when a soldier and a girl meet and fall in love. He asks her to marry him but she decides to wait until his ... See full summary »

Director: Edgar G. Ulmer
Stars: Nancy Coleman, Margaret Lindsay, Phillip Reed
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Cast

Complete credited cast:
...
Bill Porter
...
Rosalind
...
Johnny Norton (as Don Douglas)
...
Isabelita (as Isabelita)
...
Lucy
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Mrs. Cavendish
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Willy Kingston
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Hetty - Powder Room Attendant
Eric Sinclair ...
Jimmy Medford
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Rogers
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Joe Reed
...
Charles, Headwaiter
Sonia Sorel ...
Myrtle - Switchboard Operator
Carlos Molina ...
Carlos Molina (as Carlos Molina and His Music of the Americas)
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Storyline

Edgar G. Ulmer directed this film about a number of different characters unfolding love, hate, and death problems during an evening in a fashionable Latin nightclub.

Plot Summary | Add Synopsis

Taglines:

RHUMBAS! ROMANCE! RACKETS! A PRC Mystery With Music.

Genres:

Drama | Mystery

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Details

Country:

Language:

Release Date:

23 November 1945 (USA)  »

Also Known As:

Mysteriet i Havanna-klubben  »

Box Office

Budget:

$188,602 (estimated)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Besame Mucho holds the distinction of being the most recorded Latin-American song. See more »

Connections

Featured in Edgar G. Ulmer - The Man Off-screen (2004) See more »

Soundtracks

Tico Tico
Written by Zequinha de Abreu (as Zequinha Abreu)
Performed by Lita Baron (uncredited)
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User Reviews

 
Detour into not-so-grand a club.
14 September 2014 | by See all my reviews

Whether by chance or providential design, Edgar G. Ulmer's definitive rumination on fate - otherwise known as Detour (1945) - has slowly etched itself into the minds of film lovers around the world as one as one of the quintessential b-movie noirs of its day.

Bolstered by similar musings and patched together at about the same time, Club Havana (1945) amounts to little more than a trifle. A story is concocted out of nowhere and, once over, dissipates back into nothing. But that's part of its charm. In draining a Grand Hotel (1932)-type scenario of a budget as well as a purpose, the film acquires a strong offhand flavour that legitimises the whole ordeal. Low-budget-friendly aggravations of sadness, solitude and regret hover over the set as individual stories coalesce into an abstract whole. Talking leads into music and back into talking. The top-billed Tom Neal is diluted into the narrative and what little there is of a plot through-line emerges elsewhere - and why not?

Ulmer knew how to breathe life into an obviously vacant affair and have a lot of fun in the process. Club Havana may not be Exhibit A (nor B, nor C...) of this refreshing trait, but it's certainly one to consider down the road.


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