{"id":8409,"date":"2015-08-30T14:01:47","date_gmt":"2015-08-30T17:01:47","guid":{"rendered":"http:\/\/culturedarm.com\/?p=8409"},"modified":"2015-10-30T06:55:05","modified_gmt":"2015-10-30T09:55:05","slug":"august-film-detour-analysis","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/august-film-detour-analysis\/","title":{"rendered":"August Film: Detour Analysis"},"content":{"rendered":"

\"Detour<\/a><\/p>\n

The production of Edgar G. Ulmer\u2019s 1945 film noir classic\u00a0Detour<\/em> is as fabled as the\u00a0picture\u00a0itself: reportedly\u00a0shot over anything from two days up to four six-day weeks, on a small budget costing somewhere between $20,000 and $100,000. Ulmer himself, in an interview given in 1972, asserted that the film took six days to shoot. Yet it subsequently spent more than six months in post-production, which continued from late March until the film\u2019s release on 30 November,\u00a0as the soundtrack was composed and dialogue cut away to make space for its heady, foggy atmospherics.<\/p>\n

Detour<\/em> was made for the Producers Releasing Corporation, which has been described as the \u2018skid row\u2019 of Hollywood\u2019s Poverty Row. PRC made\u00a0B-movies with a limited roster of acting talent \u2013 a few character actors, but mostly youthful up-and-comers or tiring has-beens \u2013 and apparently never spent more than $100,000 on a picture, with most of its films costing considerably less and taking little time to complete. In return, the studio afforded its directors total\u00a0artistic freedom.<\/p>\n

Established in 1939, PRC produced and distributed horror films, with The Devil Bat<\/em> in 1940 showcasing the talents of Bela Lugosi; comedies, with the comedy of errors Misbehaving Husbands<\/em> in the same year featuring the silent actors Harry Langdon, Betty Blythe, and Esther Muir, as well as the debut of Gig Young;\u00a0and in 1943 Nabonga<\/em>, a jungle flick starring Buster Crabbe, marked the debut of Julie London, who winds up living with an overly-protective gorilla, while Hitler\u2019s Madman<\/em> was an early directorial effort from Douglas Sirk. But\u00a0in tune with the period, the studio\u2019s focus was on Westerns.<\/p>\n

Several\u00a0film noirs were made with PRC. Edgar G. Ulmer began working with\u00a0the studio in 1942. Born in 1904 in Olomuoc, which is now part of the Czech Republic but was then within the Austro-Hungarian Empire, he spent his formative years in the film industry under the auspices\u00a0of Max Reinhardt, Billy Wilder, and Fred Zinnemann, before embarking for the United States in 1926 as the art director for F. W. Murnau. Ulmer saw major success in 1934 with The Black Cat<\/em>, the horror film he directed starring Lugosi and Boris Karloff, which became the biggest box office hit of the year for Universal Pictures. However personal differences\u00a0saw him exiled from the major studios, and he took up a new career\u00a0on Poverty Row.<\/p>\n

In 1944 he directed Bluebeard<\/em>, a take on Perrault\u2019s French folktale, starring John Carradine as a strangler who evades the police before falling to his death. The following year, released before Detour<\/em>, Strange Illusion<\/em> was another work functioning loosely within the emerging noir genre,\u00a0this time drawing for its theme upon Shakespeare\u2019s\u00a0Hamlet<\/em>.<\/p>\n

Ulmer had already directed for PRC\u00a0Tomorrow We Live<\/em> (1942), Girls in Chains<\/em> (1943), and the South Seas adventure film Isle of Forgotten Sins<\/em> (1943). Around the same time as Detour,\u00a0<\/em>the drama Club Havana<\/em> appeared; and in 1946, Her Sister\u2019s Secret<\/em>. For\u00a0most of these films Ulmer collaborated with the same people, PRC\u2019s in-house team: the producer Leon Fromkess; the cinematographer Benjamin H. Kline, whose prolific career endured from the start of the 1920s through to the early 1970s; and Leo Erdody, the music director of PRC, who crafted sound effects and frequently utilised source music in his soundtracks, as with Detour<\/em>\u2018s \u2018I Can\u2019t Believe That You\u2019re In Love With Me\u2019.<\/p>\n

PRC had a last noir hurrah in 1947 with Railroaded!<\/em>, an early picture\u00a0directed by Anthony Mann, who began his career with a string of film noirs before progressing to the Westerns \u2013 often headlined by James Stewart \u2013 by which he remains best known. The studio had routinely distributed British imports alongside its own productions, and in 1947 it was acquired by Eagle-Lion Films, a British company owned by J. Arthur Rank. From 1939 until 1947, PRC had produced a total of 179 feature films.<\/p>\n

* * *<\/p>\n

As the opening credits roll over the start of Detour<\/em>, we are out on the open road, but moving\u00a0backwards: ours is a rear view, as Erdody\u2019s music alternately swells, slinks and twinkles furtively, and blows its\u00a0doleful horns. Al Roberts (Tom Neal), hands thrust in trouser pockets beneath\u00a0his dishevelled jacket and shirt, paces roadside then stares blankly ahead having hitched a ride in an unknown\u2019s car. He has become a cipher; he looks shattered. Getting off at a bar, he tells a fellow patron that he is heading east, having been west, but otherwise he refuses conversation, until he\u00a0snaps at the bar dwellers upon hearing the first notes\u00a0of a song from the jukebox.<\/p>\n

Al glumly apologises, and as the scene darkens a lone spotlight shines over\u00a0his eyes. \u2018That tune! That tune!\u2019, he bemoans, and then he narrates:<\/p>\n

\u2018Did you ever want to forget anything? Did you ever want to cut away a piece of your memory or blot it out? You can\u2019t you know. No matter how hard you try. You can change the scenery. But sooner or later you\u2019ll get a whiff of perfume, or somebody will say a certain phrase, or maybe hum something \u2013 then you\u2019re licked again!\u2019<\/em><\/p>\n

So begins Al\u2019s flashback, and the body of the film. We are in New York, where Al has a gig playing piano at a club, accompanying a blonde as\u00a0she gracefully sings \u2018I Can\u2019t Believe That You\u2019re In Love With Me\u2019. Al recounts working long nights on the piano at the club \u2013 he is shown playing hectically\u00a0into the early morning \u2013 and his steady relationship with the singer, Sue Harvey (Claudia Drake):<\/p>\n

\u2018I was an ordinary healthy guy and she was an ordinary healthy girl, and when you add those two together you get an ordinary healthy romance. Which is the old story, sure. But somehow, the most wonderful thing in the world.\u2019<\/em><\/p>\n

In retrospect, Al suggests\u00a0\u2018All in all I was a pretty lucky guy\u2019. But at the time he is shown disgruntled with his lot, deprecating his talent on the piano. Then on one evening walk, Sue announces that she is heading to Hollywood, to see if she can make a career. Al responds bitterly, but Sue departs all the same; and after\u00a0one last performance at the club, lithely and energetically improvising as he stares thoughtfully off into space, Al resolves to make his way too across the country. Calling Sue to inform her of his plans, for a brief moment Al seems happy.<\/p>\n

But Al\u2019s journey west goes all wrong.\u00a0He winds up hitching a ride with a man named Haskell (Edmund MacDonald). When Al laments his difficulties obtaining transport, the man remarks \u2018Not much luck huh?\u2019, and Al responds \u2018Sure \u2013 all bad\u2019. Al soon notices deep scratches on Haskell\u2019s hand, which Haskell describes as the work of \u2018the most dangerous animal in the world\u2019, a woman, one of those \u2018dames with claws\u2019. And after they have eaten \u2013 with Haskell paying for their food \u2013 back in the car, as Al drives overnight, the rain pours and Al can\u2019t rouse Haskell from his slumber. When he stops and opens the vehicle\u00a0door, Haskell tumbles out head first, dead.<\/p>\n

Al considers his predicament. Feeling that nobody will believe his account, he disposes of Haskell\u2019s body and feels obliged, for the sake of appearances, to take his wallet and clothes. Assuming the identity of Charles Haskell Jr, he journeys on and reaches California. Al suffers confused, vaguely self-accusatory dreams. And in a twist of fate, he ends up offering a lift to the same dame who violently rejected Haskell\u2019s gross overtures:<\/p>\n

\u2018I turned my head to look her over. She was facing straight ahead, so I couldn\u2019t see her eyes, but she was young: not more than twenty-four. Man, she looked as if she\u2019d just\u00a0been thrown off the crummiest freight train in the world! Yet in spite of this I got the impression of beauty. Not the beauty of a movie actress, mind you, or the beauty you dream about when you\u2019re with your wife, but a natural beauty, a beauty that\u2019s almost homely because it\u2019s so real. Then suddenly she turned to face me.\u2019<\/em><\/p>\n

The woman\u2019s name is Vera (Ann Savage), and recognising Haskell\u2019s car and clothes, she soon gets her claws into Al. She blackmails him, threatening to turn him in to the police unless he does as she says, and stays close to her at all times. The duo reach Hollywood, but Al reflects, \u2018It struck me that far from being at the end of the trip, there was a greater distance between Sue and me than when I started out\u2019.<\/p>\n

They hole up in a small apartment. Vera first demands that Al sell the car and give her the entirety of the proceeds. But then she discovers in the newspaper that Charles Haskell Jr\u2019s wealthy father lies close to death, and is attempting to locate his son in order to pass on the inheritance. Back in the claustrophobia of their shared\u00a0apartment, Al and Vera haggle cruelly, and when Al refuses to make a claim on the money, Vera retreats to the bedroom, threatening to call the police. In a drunken stupor she passes out on the bed, with the telephone cord dangling about her neck; and when Al pulls on the cord from underneath the locked door, Vera is strangled and killed.<\/p>\n

Al realises he is now in effect a murderer:<\/p>\n

\u2018I was cooked, done for. I had to get out of there. While once I had remained beside a dead body, planning carefully how to avoid being accused of killing, this time I couldn\u2019t. This time I was guilty. I knew it. Felt it. I was like a guy suffering from shock. Things were whirling around in my head.\u00a0I couldn\u2019t make myself think right! All I could think of was the guy with the saxophone and what he was playing! It wasn\u2019t a love song anymore: it was a dirge.\u2019<\/em><\/p>\n

And in a sort of coda to the film, he wanders dismally before being picked up by highway patrol:<\/p>\n

\u2018I was in Bakersfield before I read that Vera\u2019s body was\u00a0discovered [\u2026] I keep trying to forget what happened, and wonder what my life might have been if that car of Haskell\u2019s hadn\u2019t\u00a0stopped. But one thing I don\u2019t have to wonder about: I know. Some day a car will stop to pick me up that I never thumbed. Yes \u2013 fate, or some mysterious force, can put the finger on you or me, for no good reason at all\u2019.<\/em><\/p>\n

Apparently this ending was enforced, as the Hollywood Production Code of the time refused to allow murderers to be seen getting away with their crimes.<\/p>\n

The deaths of first Haskell then Vera, and some of the details of Al\u2019s assumption of Haskell\u2019s identity, seem so scarcely plausible that we are left to wonder throughout Detour<\/em> as to the veracity of Al\u2019s narrative. With its framing device and hints of an unreliable narrator, the film bears a deceptively complex narrative structure.<\/p>\n

But as much as we may question Al\u2019s version of events, through the consuming and disorientating fog \u2013 the film\u00a0was shot using\u00a0just one outdoor desert location and only six minimal indoor sets, with fog effects masking cardboard backdrops and providing a dreamlike sense of place; while in several instances Ulmer simply flipped the film negative in order to show different\u00a0hitchhiking scenes \u2013 Detour<\/em> also has the quality of myth. It is not meant to reveal itself fully to us, not meant to follow any strict daytime logic. It is a myth upon the end of myths, depicting both the absence and the utter futility of the American Dream, westward expansion, and the open road.<\/p>\n

Tom Neal \u2013 whose own life would follow a similarly convoluted course, as he spent six years in jail for the manslaughter of his wife \u2013 endows Al with a profound and desperate pain, shot through the eyes; while Ann Savage brings Vera\u2019s vindictiveness, borne towards the whole world, to a sharp and twisted\u00a0point against Al\u2019s person. The fatalism at the heart of Detour<\/em> echoes the literature of Kafka, particularly in his short story \u2018A Country Doctor\u2019; and calls forth to the devastating loop which closes Roman Polanski\u2019s\u00a0Chinatown<\/em>.<\/p>\n

* * *<\/p>\n

\u2018In Detour<\/em> \u201cI Can\u2019t Believe That You\u2019re In Love With Me\u2019 prompts the flashback that frames the narrative. A sign of both a utopian past and a lost future, the song embodies Al\u2019s mistake in believing he could escape his club gig and start a life with Sue in Hollywood. Its lyrics don\u2019t promise love or success but rather profess incredulity that someone so wonderful could love the song\u2019s speaker; even so, Al balks at serving as Sue\u2019s accompanist and playing for little money (a ten buck tip is a \u201cjackpot\u201d) and less respect at the Break o\u2019 Dawn Club. He should complain, for he is\u00a0clearly possessed of great talent, displayed when he ingeniously transmutes Brahms\u2019s \u201cWaltz in A Major\u201d into an improvised boogie-woogie. Flinn writes that this scene indicates that jazz signifies failure for Al. But it also shows Al using improvisation the same way that the black inventors of jazz did: to turn confinement into liberation. Al\u2019s hitchhiking (geographic improvisation) further indicates that he enjoys playing things by ear. Perhaps sensing that life with Sue would be as insipid as the song, he doesn\u2019t really want to join her.\u2019 \u2013 Mark Osteen, Nightmare Alley: Film Noir and the American Dream<\/em> (JHU Press, 2012)<\/strong><\/p>\n

\u2018The difference between a crime film and a noir film is that the bad guys in crime movies know they\u2019re bad and want to be, while a noir hero thinks he\u2019s a good guy who has been ambushed by life. Al Roberts complains to us: \u201cWhichever way you turn, fate sticks out a foot to trip you.\u201d Most noir heroes are defeated through their weaknesses. Few have been weaker than Roberts. He narrates the movie by speaking directly to the audience, mostly in a self-pitying whine. He\u2019s pleading his case, complaining that life hasn\u2019t given him a fair break.\u2019 \u2013 \u2018Great Movies\u2019 review by Roger Ebert<\/a><\/strong><\/p>\n

\u2018Using unknown actors and filming with no more than three minimal sets, a sole exterior (a used-car lot) to represent Los Angeles, a few stock shots, and some shaky back-projection, Ulmer conjures up a black, paranoid vision, totally untainted by glamour, of shabby characters trapped in a spiral of irrational guilt.\u2019 \u2013 Phillip Kemp, World Film Directors, Volume 1: 1890-1945<\/em> (H. W. Wilson, 1987)<\/strong><\/p>\n

\u2018Tom Neal ended up badly: he was involved in violence and did six years in prison. Ann Savage is alive still and sometimes appears at special showings of Detour<\/em>, an old witch who hardly seems to grasp what she has done. Detour<\/em> is preserved now, famous and taught, but it only shows that there may be plenty of films as good, as ugly, and as disreputable waiting to be found in the gutter\u2019. \u2013\u00a0David Thomson, \u2018Have You Seen\u2026?\u2019: A Personal Introduction to 1,000 Films<\/em> (Penguin, 2010)<\/strong><\/p>\n

\u2018It is no accident that the hitchhiker\u2019s intended destination should be Hollywood where he will find success and happiness. (There is even one shot in which two characters are framed in a window that looks for all the world exactly like a movie screen.) After a decade of Jive Junctions<\/em> and Women in Chains<\/em>, of limited options and illusory freedom, of entrapment within the economic imperatives of Hollywood, Ulmer was exceedingly well-equipped to handle Detour<\/em>\u2018s desperate fatalism. The film\u2019s grim acceptance of a malignant fate, its deliberate mockery of some of the more facile American myths, its singular admixture of the banal and the bizarre surely reflect the director\u2019s belief in the existence of the illusion of free choice, not the substance of free will. It is hardly surprising that he made of this project perhaps the finest of his ten-day wonders, a forceful and compelling articulation of a distinctive world-view.\u2019 \u2013 David Coursen, \u2018Detour: Closing Down the Open Road\u2019, Movietone News 48 (February 1946)<\/a><\/strong><\/p>\n

<\/div>\n

Watch\u00a0Detour<\/em>\u00a0at Culturedarm.<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The production of Edgar G. Ulmer\u2019s 1945 film noir classic\u00a0Detour is as fabled as the\u00a0picture\u00a0itself: reportedly\u00a0shot over anything from two days up to four six-day weeks, on a small budget costing somewhere between $20,000 and $100,000. Ulmer himself, in an interview given in 1972, asserted that the film took six days to shoot. Yet it […]<\/p>\n","protected":false},"author":1,"featured_media":8420,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[4010,3960,3875],"tags":[4025,4027,4026,3955],"class_list":{"0":"post-8409","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-american-cinema","8":"category-monthly-film","9":"category-movies","10":"tag-detour","11":"tag-edgar-g-ulmer","12":"tag-film-noir","13":"tag-monthly-film"},"jetpack_publicize_connections":[],"yoast_head":"\nAugust Film: Detour Analysis<\/title>\n<meta name=\"description\" content=\"On the Producers Releasing Corporation and the fabled production of Edgar G. 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