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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Cast

Complete credited cast:
...
Bill Porter
...
Rosalind
...
Johnny Norton (as Don Douglas)
Lita Baron ...
Isabelita (as Isabelita)
Dorothy Morris ...
Lucy
Renie Riano ...
Mrs. Cavendish
Ernest Truex ...
Willy Kingston
Gertrude Michael ...
Hetty - Powder Room Attendant
Eric Sinclair ...
Jimmy Medford
...
Rogers
...
Joe Reed
Pedro de Cordoba ...
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)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

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

Connections

Referenced 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)
See more »

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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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