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 ...
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Jerry McKibbon is a tough, no nonsense reporter, mentoring special prosecutor John Conroy in routing out corrupt officials in the city, which may even include Conroy's own police detective father as a suspect.
While waiting on a delayed flight, David Trask, who has left his unfaithful wife, meets three of his fellow passengers. When the aircraft crashes, he is one of few survivors, and sets out to resolve their unfinished business.
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 richer neighbours he started to exhibit an obsessive and selfish urge to make more and more money, loving and leaving women at will to further this end. Written by
Jeremy Perkins <firstname.lastname@example.org>
Buck Mansfield quotes twice from the Bible. The first occasion is when he is being 'pursued by his creditors' and he reads from Proverbs 31:10 -12 and 21 (...Who can find a virtuous woman? For her price is far above rubies....). The second instance is when he speaks to the bartender at Vendig's function and the quote is from Obadiah 1: 2-4 (...Though you set your nest among the stars, From there I will bring you down ...). See more »
I just returned from an American Cinemateque screening of a UCLA restored print of this movie. Here is ample evidence that Ulmer, the King of the B's, given bigger budgets might well have had a much bigger career. Detour may be his most famous movie, but this is his best. The Alvah Bessie screenplay about greed and the relentless pursuit of success has dated not at all. The cinematography is excellent, with strong noirish elements. The sets and costumes are very good. Zachary Scott, one of the screen's great cads, is somewhat toned down here if still fairly nasty. There is strong work by Diana Lynn, Lucille Bremer, and Martha Vickers as women who get used and discarded along the way. Sidney Greenstreet shows up mid film as an equally greedy and grasping character, dominating all his scenes. But the standout, unexpectedly, is Louis Hayward as a sympathetic boyhood friend and link to the entire storyline. Ulmer brings out more warmth in this actor that was usually seen. Raymond Burr has a small part early in his career when he seemed to be copying Laird Cregar as Scott's father seen in flashback. Ulmer's daughter this evening explained that the studio Eagle-Lion/Paramount cut some scenes just before release with a particularly anti-capitalist tone. I hope the footage still exists somewhere. That aside, it is thoroughly accomplished film that needs no explanation or apologies. The current recession gives it renewed meaning. Hopefully a DVD release will soon follow.
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