Paul, a young man whose father was once lieutenant Governor of California before his untimely death, has a strange, recurring dream in which his mother falls in love with a dangerous man (... See full summary »
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 »
Edgar G. Ulmer
The owner of a seedy dive and brothel on a South Seas island meets two treasure hunters looking for a sunken ship with a $3-million cargo of gold. She persuades them to let her in on the ... See full summary »
Edgar G. Ulmer
Horace Vendig shows himself to the world as a rich philanthropist. In fact, the history of his rise from his unhappy broken home shows this to be far from the case. After being taken in by ... See full summary »
John Rhodes (Gene Lockhart)hires private detective D. L. Trees (Jerome Cowan)to track down a talking blackbird owned by Fred Molner, who uses the bird as a means of blackmailing Rhodes. ... See full summary »
When the fabled Star of Rhodesia diamond is stolen on a London to Edinburgh train and the son of its owner is murdered, Sherlock Holmes must discover which of his suspicious fellow passengers is responsible.
An up and coming boxer ( Ben Lyon) runs into problems when he takes on a women fight manager (Constance Cummings). Ben Lyon is once again playing with Tom Dugan [They co-starred in "The Hot... See full summary »
The survivors of an Army patrol ambushed by Indians hook up with a group of cowboys who have also been attacked, and together they try to get to safety at the fort. Unfortunately for them, ... See full summary »
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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