Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
"From Poverty Row came a movie that, perhaps more than any other, epitomizes the dark fatalism at the heart of film noir. As he hitchhikes his way from New York to Los Angeles, a down-on-his-luck nightclub pianist (Tom Neal) finds himself with a dead body on his hands and nowhere to run--a waking nightmare that goes from bad to worse when he picks up the most vicious femme fatale in cinema history, Ann Savage's snarling, monstrously conniving drifter Vera. Working with no-name stars on a bargain-basement budget, B auteur Edgar G. Ulmer turned threadbare production values and seedy, low-rent atmosphere into indelible pulp poetry. Long unavailable in a format in which its hard-boiled beauty could be fully appreciated, Detour haunts anew in its first major restoration"--Container.… (lisätietoja)
This proto-noir is one of the all-time great noir movies. It is a bleak, nihilistic masterpiece that offers absolutely no hope and acts as a black dagger to the heart of the so-called "American Dream". The story opens with nightclub pianist Al Roberts (Tom Neal) and his girlfriend Sue (Claudia Drake) discussing their future. Sue decides to head for Hollywood leaving Al behind, but as the weeks pass he decides to join her. Broke, he has no option but to hitchhike and finds himself getting a ride from brash business-man Charles Haskell (Edmund MacDonald). Unfortunately Haskell suddenly dies on the road and Al unwisely decides to take his identity. Things go really wrong for him, however, when he gives a lift to the dangerous, deadly, black-mailing femme fatale Vera (Ann Savage). Despite its sharp running time of 67 minutes, the Martin Goldsmith written and Edgar G. Ulmer directed "Detour" packs an incredible punch while incorporating all the trademarks of the noir genre including shadowy black-and-white photography; a deep moral ambiguity; a cynical protagonist and a powerful femme fatale. Edgar G. Ulmer's made the movie on a shoestring over the course of a few days and that actually works to the film's advantage giving it a restless, dark, grim, foggy feel very much in line with the characters and their motivations. Ulmer's direction tunes in to the fatalism of the characters giving them the backgrounds and the milieu they deserve. Tom Neal is good in the lead role, failing to take any personal responsibility and believing that his actions have been precipitated by the hand of fate rather than by any of his own decisions. Ann Savage is unrivalled in her portrayal of Vera perhaps delivering the nastiest, harshest, bitterest femme fatale of all. All this makes for a simply astonishing and incredible cynical b-movie masterpiece. ( )
"From Poverty Row came a movie that, perhaps more than any other, epitomizes the dark fatalism at the heart of film noir. As he hitchhikes his way from New York to Los Angeles, a down-on-his-luck nightclub pianist (Tom Neal) finds himself with a dead body on his hands and nowhere to run--a waking nightmare that goes from bad to worse when he picks up the most vicious femme fatale in cinema history, Ann Savage's snarling, monstrously conniving drifter Vera. Working with no-name stars on a bargain-basement budget, B auteur Edgar G. Ulmer turned threadbare production values and seedy, low-rent atmosphere into indelible pulp poetry. Long unavailable in a format in which its hard-boiled beauty could be fully appreciated, Detour haunts anew in its first major restoration"--Container.
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WilliamHartPhD | Jun 10, 2012 | 
Google Books — Ladataan...
(3.9)
2
3/4 (Good).
There's not much here other than Ann Savage's performance, but that's enough. (