I think this should be on a must-see list. Ann Savage plays the meanest snake I've ever seen, but with a vulnerability that makes it real. Tom Neal plays the sad sack so well. It turned out that his real life was more dramatic than most films. He went to jail for 6 years for killing his wife. He may not have been the nicest guy in real life.
Real talk: The men of film-noir are almost always caricatures, even when they're entertaining. That's why I love Tom Neal's Al Roberts, whose nervous energy and earnestness more than sell the wrong-place-wrong-time narrative. At 67 minutes, "Detour" is taut, tense stuff; it's also public domain, so check it out.
At a mere 68 minutes, Detour is certainly an economical film-noir, but isn't necessarily gripping. It isn't very memorable in its impact since it never really gets the tension riding high, and feels rough in its storytelling elements. Even its cinematic style is shaky and generic compared to others of its genre, with no cinematic personality of its own, whether it was shot cheap n' quick... or not (as often debated.)
What an insane little noir. Basically taking all the elements of noir, amping them up on steroids, and shortening the run time to make the whole sense of doom even more claustrophobic. Savage's performance is over the top in the best way, think Bette Davis at her most indulgent. A shame most prints are shit (public domain), the one TCM airs is of decent quality however. Essential noir
A perfect nightmare of a film with characters that would never have been allowed to appear in a more expensive production, in it Ulmer seems to have just happened upon the perfect vehicle for his considerable stock of artistic skills and gifts. It all looks both coincidental and inevitable. Tom Neal and Ann Savage are perfectly cast and matched as the doomed Jazz musician and the woman he wishes he hadn't picked up.
Kurgu yerlerde fakat yine de çok iyi bir film. Öyle ki insanı saykodelik senaryolar yazmaya itiyor. Bu güne dek birçok yol hikayesi izledim ve okudum fakat bunlardan pek azı, "yol hikayesi" tipini bir kimlik bunalımı perspektifinde irdelemiştir (Hermann Hesse'nin Siddhartha'sı bunun iyi bir örneği sayılabilir örneğin). Bu film yola çıkanın benliğini ve olası kimliklerini yitirmesinin filmi gibi. Tavsiye edilir.
A good B noir, with a simple and straightforward plot and right atmosphere. The use of the voice-over is conventional but fine. The problem is the ending. In a matter of minutes we first hear that the police are looking for a (dead) man responsible for the death of a wife he never had, and then we see the police car pulling over and picking up the real murderer, the storyteller. The movie is far too short.
Narratives from the road! They can be a lot of enjoyment when intelligently explored. When you throw yourself on the road better be ready to deal with fate. Even the very same fact roads work on curves mirrors the striking scalation of events. Great tension performed by the acting and amazing cars scenes pull you in the exciting thriller atmosphere. Highlight to those witty line thoughts.
Essential cinema. The granddaddy of the 'B''s has certainly withstood the test of time to become a fixture in cinema history with a reputation stronger than any of the Oscar nominated films of that year (except perhaps 'Mildred Pierce'). At an economical 69 minutes this film tells one hell of a story and still packs quite the punch. Anne Francis with only 30 min. of screen time makes one of the great femme fatales.