#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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…
Plot: Al Roberts, a New York nightclub pianist, hitchhikes to Hollywood to meet his girlfriend Sue. The gambler he’s riding with, Charles, unexpectedly dies. Afraid the police wouldn’t believe the truth, Al takes the man’s identity. In a gas station, he gives a lift to Vera, a woman that knew Charles and blackmails Al with tragic consequences.
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|7.4/10 Votes: 15,612|
|7.2 Votes: 204 Popularity: 10.867|
Playing out as some kind of fate accompanied nightmare, Detour demands repeat viewings since the running time is so short it leaves you hankering for more come the end. We follow the protagonist Al Roberts on the road, and watch (with accompanied narration) a sequence of events that see him in the middle of nowhere at a diner fearing for his future.
Devilishly dark in tone, the film relies on a fine underplayed performance from Tom Neal as Roberts, and a gloriously annoying harpy femme fatale turn from Ann Savage as Vera. The film was made for next to nothing in only one week, and the whole film screams out as a low budget movie shot with a sleazy tint and less than stellar tech credits. Yet money can’t buy this type of atmospheric misery, where the vagaries of fate play their brutal film noir hands.
Upon release, it was just a poverty row “B” picture, and it passed by almost quietly. Unsurprisingly a few years later “French” cineastes picked up on it and as the years rolled by it has garnered critical reappraisals. So much so the likes of Scorsese and The Coen Brothers cottoned on and gleefully let the influence wash over them. Director was one Edgar G. Ulmer (“The Black Cat”, “Bluebeard”, “Strange Illusion”, “Ruthless”), and here he shows himself the master of low budgetary nous and devilish story telling. 9/10
This was excellent. One of my very favourite film noirs–and at a fraction of the budget. It made me instantly want to see ALL of Ulmer’s films–as well as a lot more of Ann Savage. A priceless find for the adventurous cinephile.
Either the protagonist is the most unlucky man alive …
Or he is lying. The entire film is told in flashback as Al Roberts (Tom Neal) sits in a dingy diner. At the beginning of his story, Al is a piano player in a low rent club in New York and his best girl is the singer. But then she grows tired of their professional stagnation and decides to go out west and try to get into pictures. Al gets lonely, calls her, and says he is coming out there too. She enthusiastically embraces the idea. He has no car and so he hitchhikes. He gets all of the way to Arizona before his bad luck hits. By the film’s end Al has implicated himself in two deaths that were accidents in both cases, but would be impossible to prove they were not murder, and is held prisoner by a dragon lady who wants to get him involved in a preposterous fraud scheme that he rightly decries as being impossible to pull off.
The acting and much of the dialogue is very melodramatic, bordering upon soapy, but it fits the story as so much of it involves conveying the emotion and doing so from the point of view of Al. Bogart and Mitchum wouldn’t have been right for this lead role. Either one of them would have come across as either too cool or too tough to put up with such a domineering femme fatale as Ann Savage’s Vera and seem so depressed and pathetic. Instead, Tom Neal is perfect as a guy who sees himself bound by fate and doomed.
But maybe the entirety of the story is made up. Al’s voice over could just be him sitting in the cafe creating an alibi story. Ann Savage’s performance as Vera was over the top maybe because it’s Al telling the story, and he wants to make himself look good. I don’t buy half of what he tells us; I think he was much more complicit in all of the deaths than he wants the audience to believe. Vera is a caricature of the noir femme fatale because he’s trying to convince us that everything was her idea or an accident or fate based on his act of true love – trying to get to his girl in California – and he’s completely innocent.
On the technical side, this one showed a great use of light, shadows, and music, and fine direction by Ulmer to keep the mood. It’s too bad nobody has restored this one as it resides in the public domain. This is one noir that will stay with you.
Not “the best B-movie ever made”
Not “the greatest B movie ever made” – as one critic claims, but it has its moments. It is arguably unique for its time, but as film noirs go, it is pretty ordinary, following many noir conventions. Some of the rules of film noir:
1) People are rotten, and women are the rottenest people. 2) Society lives by rule #1, so people always believe the worst about each other 3) At the bottom of every man’s trouble is a very bad woman 4) People are weak and stupid, and men are the weakest and stupidest 5) Evil schemes never succeed. 6) Things are the worst when they look the best.
Life has always been tough for Al Roberts, but he never realizes just how tough life can be until it’s too late. His troubles begin when his girlfriend dumps him and heads for Hollywood to become a star. His first mistake is deciding to follow her. In his circumstances, the only way he can get to Hollywood is by hitch-hiking.
He is picked up by a gambler who offers to take him all the way to California, and in appreciation he agrees to share the driving. Things are looking good (see rule #6), so we know this is where it starts to get interesting. And stupid.
The gambler dies of natural causes (fortunately, he wasn’t driving) and instead of calling the police, Al decides to rob him, bury him, and take his car, on the grounds that the police would never believe him if he told the truth. See rule #2 above.
Although frightened that someone will find out his secret, and turn him into the police, Al nevertheless decides to pass the kindness of the driver who stopped for him onto someone else. So, he stops and picks up a hitch-hiker, a woman no less. See rule #1 and rule #4.
This movie has one great moment that redeems all the craziness of its dysfunctional universe, and that is when Al – and the audience – realize that his passenger *knows* .. knows what happened to the gambler who gave him a ride. I won’t spoil it for those who haven’t seen it. I’ll just say it’s one of the best plot twists ever ..
From this point forward, Al is under this woman’s control. He dances to her tune, and she has all sorts of plans for him, most of which would not pass close legal scrutiny. See rules #3 and #4.
There is another priceless moment in this movie that’ll you’ll miss if you blink. Al and Vera, the woman hitch-hiker, are in LA, and have rented an apartment. They make a liquor run for their supper, and after finishing the bottle, Vera announces “I’m going to bed” and puts her hand on Al’s shoulder in an unmistakable “care-to-join-me?” gesture. Al’s a wuss, but even he has enough spine to pass this invitation. See rules #1 and #3, though Al’s response here belies rule #4.
So, is Detour a good movie, or not? Yes, it’s a good movie, but it is not a great one. What makes the movie special are the elements that cannot be described, only appreciated while watching the movie. For a non-existent budget and a six-day shooting schedule, Detour is a masterpiece. I can’t imagine a better movie being made under similar trying circumstances.
From All Movie Guide: “Directer Ulmer .. succeeds in creating a memorable, dark, nightmare world, uncaring, cynical and brutal. ”
I thought every part of the theatrical elements of this story were masterfully done. I love the amoral, fatalistic, decadent ambiance of film noir, and this movie certainly has that.
But, the whole movie turns on a plot point that will not hold: Al thinks that no one would believe him if he told the truth about the man who gave him a ride. In a film noir universe, that may be true; in the real world, it is not, so I cannot buy into the movie experience at the most pivotal point of the story. For that reason, I can only rate Detour a 6 out of 10. Still, it is a remarkable movie given the circumstances under which it was produced.
Original Language en
Runtime 1 hr 8 min (68 min)
Genre Crime, Drama, Film-Noir
Director Edgar G. Ulmer
Writer Martin Goldsmith (screenplay), Martin Goldsmith (original story)
Actors Tom Neal, Ann Savage, Claudia Drake, Edmund MacDonald
Awards 1 win.
Production Company Producers Releasing Corporation (PRC)
Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm