Trapped inside his car by a mudslide, smooth talking Jackson Alder suddenly finds himself in a situation he can't talk his way out of. With no hope of rescue, he must defy the odds; battling Mother Nature for his survival.
In flashback, New York nightclub pianist Al Roberts hitchhikes to Hollywood to join his girl Sue. On a rainy night, the sleazy gambler he's riding with mysteriously dies; afraid of the police, Roberts takes the man's identity. But thanks to a blackmailing dame, Roberts' every move plunges him deeper into trouble... Written by
Rod Crawford <firstname.lastname@example.org>
When I got my first VCR in 1985, the two movies I immediately rented were "Baby Doll" and "Detour." I have revisited the former many times but it's been 20 years since I saw "Detour." I like it even better.
It moves in a seamless manner. The narrator is drawn as we watch into further and further degradation.
The movie has a beautiful look. I'm sure it's a cliché to note this but it resembles a Hopper painting. It also bears the trademarks of Edgar Ulmer's movies: Literate dialogue and classical movie, no matter how low the budget.
Tom Neal is a mournful, appealing protagonist. He's weak, not really bad. Ann Savage, of course, is terrifying as Vera, the hitchhiker from everyone's worst nightmare.
Al's descent from blonde soubrette Sue to consumptive, murderous Vera is terrifying. Yet, though it passes by us quickly, it is fully believable.
"Detour" is a true work of art.
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