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Detour (1945)

Not Rated | | Crime, Drama, Film-Noir | October 1946 (UK)
Chance events trap hitch-hiker Al Roberts in a tightening net of film noir trouble.

Director:

Edgar G. Ulmer

Writers:

Martin Goldsmith (screenplay), Martin Goldsmith (original story)
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Cast

Complete credited cast:
Tom Neal ... Al Roberts
Ann Savage ... Vera
Claudia Drake ... Sue Harvey
Edmund MacDonald ... Charles Haskell Jr
Tim Ryan ... Nevada Diner Proprietor
Esther Howard ... Diner Waitress
Pat Gleason Pat Gleason ... Joe
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

Taglines:

He went searching for love... but Fate forced a DETOUR to Revelry... Violence... Mystery!

Genres:

Crime | Drama | Film-Noir

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

October 1946 (UK) See more »

Also Known As:

El desvío See more »

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Box Office

Budget:

$30,000 (estimated)

Opening Weekend USA:

$5,127, 2 December 2018, Limited Release

Gross USA:

$16,172, 10 January 2019
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Shot quickly in mostly two locations: the hotel room apartment, and the car in front of a rear projection screen on a soundstage at PRC. The actual shooting schedule was 28 days, including a brief location shoot on old U.S. Highway 6 at Actis and Rosamond, California for the desert scenes, and backplates for rear projection. See more »

Goofs

When Al Roberts is dragging Charles Haskell Jr's body from the car into the bushes on the side of the road, you can see the rain making apparatus shooting water up into the air to generate the rain. See more »

Quotes

Al Roberts: He was a piece of cheese, the big blowhard.
See more »

Connections

Featured in Detour (2016) See more »

Soundtracks

I Can't Believe That You're in Love with Me
(uncredited)
Written by Jimmy McHugh and Clarence Gaskill
Performed by Claudia Drake
Played often in the score
See more »

Frequently Asked Questions

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User Reviews

 
An unforgettable accident that paved the low road for film noir
14 July 2004 | by bmacvSee all my reviews

Is Detour just a bad dream? Or a masochistic reverie dredged up out of the sumps of self-loathing? Long before setting out on the road trip that took such a disastrous turn, Tom Neal was a picky eater at life's banquet. Pounding the ivories in a Manhattan nitery, he sulks that his talent goes unappreciated (when a drunk tips him a ten-spot, it's 'a piece of paper crawling with germs'). He sabotages his rapturous renditions of Chopin and Brahms waltzes with a left-handed boogie-woogie beat. When his girl, the club's shantoozie, tells him that he'll make it to Carnegie Hall 'someday,' he snaps back, 'Sure, as a janitor. Maybe I'll make my debut in the basement,' and 'Yeah, someday – if I don't get arthritis first.' Neal's lousy with what we now call issues.

When his fiancée heads to Los Angeles to try for the lush life, he lets her go, then, suddenly lonesome, decides to hitch out to the coast. In Arizona, he thumbs a ride from a pill-popping driver (Edmund McDonald) with scratches on his wrist from tussling with a 'wild animal' – a woman he had picked up in Louisiana. When Neal takes over the wheel during a rainstorm, McDonald up and dies – and conks his head on a rock as he slumps out the passenger door. Looks bad. Since he casts himself as eternal victim, Neal, though blameless, guiltily drags the body into the desert and assumes its identity (along with car and wallet). Later, at a gas station, he offers a lift to another thumb-jockey (Ann Savage), even though she looks like she 'just got thrown off the crummiest freight train in the world.' (Does the phrase 'self-destructive' strike a familiar note?) In fact, she's none other than the beast who sank her claws into the deceased – and plans to make an even bigger feast out of Neal....

The stubble on Neal's unshaved chin can't disguise his pouty, pretty-boy looks, and he proves just right as this callow, ill-starred loser (a better actor would have added superfluous dimensions). If he and his self-absorbed predicament start to wear a little thin, it ceases to matter when Savage arrives halfway through to give a performance that beggars all description. Owing either to Ulmer's or her own genius (or to exigent production values), her hard face stays stripped of glamor – when she does slap on the war paint, the effect is primitive, alarming, with eyebrows that looked slashed on with a stiletto under an unkempt riot of hair. She starts off slowly, until, supposedly dozing in the shotgun seat, her eyes fly open to size up and devour Neal. It's the most terrifying instant in Detour. From then on in, she's all shrew all the time, drunk or sober, intimidating or seductively manipulative. Thus Savage's Vera entered film history as the hardest-boiled of its femmes fatales. And Neal never knew what hit him.

Insolently original – a classic in a class by itself – Detour is by no stretch of the imagination a conventional masterpiece (if masterpieces can be counted as conventional). It shows evidence of starting out to be something – a longer, more fully developed movie – quite different from what it ended up . Groundwork gets laid for developments that never come to pass. What seems to be intended as the plot's centerpiece – a scheme to pass Neal off as McDonald, the lost scion of a wealthy family – comes to nothing. As does Savage's ominous cough, a clue to her subsequent indifference ('I'm on my way anyhow') to that 'perfume Arizona hands out free to murderers.'

Somewhere along the way, Detour ran out of time, or money, or film stock, and was cobbled together out of footage already in the can, with the aid of peculiar voice-overs (in the last-ditch manner of The Magnificent Ambersons or My Son John). Against all odds, it still worked, and remains one of the best known and most unforgettable titles in the film noir canon, a stunningly effective piece of work that manages to encapsulate, in 67 minutes, all the inchoate angst that informs the cycle. It may have been an accident, but it's the kind of accident you can't peel your eyes off of.

When the noir cycle began to coalesce in the early 1940s, it looked like it was going to take the high road of starry, big-budget prestige productions (The Maltese Falcon, I Wake Up Screaming, The Glass Key, Laura, Double Indemnity, Mildred Pierce). Edgar G. Ulmer's Detour took the low road. A Poverty-Row production empty of box-office names, it was shot on a few cheap sets in a matter of days. But it sweated off a raw power that other alert film-makers working on the fringes of the industry were quick to emulate; the next few years would see Fall Guy, The Guilty, Suspense, Violence, I Wouldn't Be In Your Shoes, Decoy (the pick, along with Detour, of this particular litter) – all done with wannabes or has-beens in cast and crew, visually often ugly (the murky lighting more a matter of necessity than moody esthetic choice). It was often inspired movie-making on the most frayed of shoestring budgets.

And yet, with a few exceptions, this second-feature slot was the niche into which film noir would settle until it ran its course in the late 1950s. Which raises a question: Without Detour paving the way for quick-and-dirty, sensational fodder to fill up double bills – B-movies that the suits in the front offices didn't much care about and so paid little attention to – would the noir cycle have been but a brief flash in the pan? Would it have stayed the passion only of a handful of French cineastes? Would it have amounted to a cycle at all? The debt owed to Detour may be greater than acknowledged.


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