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.



(screen play), (original story by) (as Fred Jackson)

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


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




Drama | Mystery





Release Date:

23 November 1945 (USA)  »

Also Known As:

Mysteriet i Havanna-klubben  »

Box Office


$188,602 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


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


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


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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