SYNOPSIS: Detour, directed by Edgar G. Ulmer, is a classic film noir that tells a grim and fatalistic story of desperation, chance, and unintended consequences. The movie is renowned for its tight budget and production schedule, which inadvertently contributed to its gritty and raw aesthetic.

The story begins with Al Roberts (Tom Neal), a down-and-out piano player in New York, who is despondent over his inability to marry his girlfriend, Sue Harvey (Claudia Drake). Sue, seeking fame, has left New York for Hollywood to pursue a career as a singer. Heartbroken and longing to reunite with her, Al decides to hitchhike across the country to California.

During his journey, Al is picked up by Charles Haskell Jr. (Edmund MacDonald), a gambler on his way to Los Angeles. Haskell offers Al a ride, and the two share a tense but uneventful trip until night falls. When Al tries to wake Haskell from his sleep, he discovers Haskell is dead, apparently from a heart attack. Panicked and fearing he will be accused of murder, Al decides to hide the body and assume Haskell's identity, taking his car, money, and belongings.

Al continues his journey but soon picks up a hitchhiker named Vera (Ann Savage), a hard-edged and cynical woman who quickly recognizes Haskell’s car and belongings, revealing she had previously met Haskell. Sensing an opportunity, Vera blackmails Al, forcing him to go along with her plans.

Vera discovers a letter in Haskell's belongings that reveals he is about to inherit a large sum of money from his dying father. She concocts a scheme to have Al pose as Haskell to collect the inheritance. Al, however, is horrified by the idea and refuses. The tension between them escalates as they hide out in a Los Angeles apartment.

In a climactic confrontation, Vera drunkenly locks herself in a bedroom with the telephone, intending to call the police. Al, desperate to stop her, pulls the telephone cord from under the door, only to accidentally strangle Vera in the process. Terrified and guilt-ridden, Al flees the apartment, believing he is now irredeemably caught in a web of fate.

The film concludes with Al back on the road, reflecting on his doomed journey and contemplating his inescapable fate. He is picked up by another driver, and the film ends with a voiceover that suggests Al's capture is inevitable, highlighting the overarching themes of predestination and the futility of trying to escape one’s fate.

Detour is a powerful example of film noir, characterized by its dark and pessimistic tone, stark lighting, and morally ambiguous characters. The film’s low-budget production adds to its sense of realism and raw emotion, making it a standout in the genre and a significant work in the history of American cinema.

PLOT Spoiler Alert: "Detour" follows the story of Al Roberts, a down-on-his-luck pianist, as he recounts his harrowing journey across the United States. The narrative unfolds in a series of flashbacks, beginning with Al playing piano in a dimly lit nightclub in New York. Discontent with his stagnant life and longing to reunite with his fiancée, Sue Harvey, who has moved to Hollywood in search of a singing career, Al decides to hitchhike his way to California. His journey takes a dark turn when he is picked up by Charles Haskell Jr., a mysterious gambler driving a sleek convertible. As they travel together, Haskell tells Al about his life and shares some peculiar habits, including his need for frequent medication.

Fate intervenes when Haskell dies suddenly one night, seemingly from a heart attack. Fearing he will be accused of murder, Al decides to dispose of the body and assume Haskell’s identity, taking his money, car, and belongings. Al’s troubles multiply when he picks up Vera, a hitchhiker who quickly deduces his secret. Vera, a sharp and ruthless woman, recognizes the car and reveals she had previously encountered Haskell. She blackmails Al into cooperating with her schemes, manipulating him into renting an apartment where she plans to sell the car.

As tensions between Al and Vera escalate, their situation becomes increasingly desperate. Vera’s aggressive behavior and drinking lead to a violent confrontation, culminating in a tragic accident where Vera is accidentally strangled with a telephone cord during a struggle. Panicked and guilt-ridden, Al flees the scene, once again on the run. He continues to hitchhike, haunted by the memories of his ill-fated journey and the choices that led him to this point. The film concludes with Al being picked up by the police, resigned to his fate and reflecting on the inexorable twists of destiny that have ensnared him in a relentless spiral of misfortune and despair.

PRODUCTION:"Detour," directed by Edgar G. Ulmer, is a remarkable example of what can be achieved in film with minimal resources. The movie was produced by the low-budget studio PRC (Producers Releasing Corporation), known for its tight production schedules and frugal budgets.

Shot in 28 days, "Detour" was created with a budget of approximately $30,000, a modest sum even by the standards of the 1940s. The script, written by Martin Goldsmith, was adapted from his own novel. Ulmer, a director with a reputation for working efficiently, brought his European sensibilities and expertise to the project, using innovative techniques to overcome financial limitations.

The film’s production was marked by several constraints that influenced its distinctive style. Limited by budget, Ulmer had to employ creative solutions to convey the story’s dark, noir atmosphere. He utilized existing locations around Los Angeles and simple set designs, which added to the film's raw and gritty aesthetic. Ulmer's use of minimal lighting and stark shadows created an effective visual style that amplified the film’s tension and mood, quintessential elements of the film noir genre. Despite the financial constraints, Ulmer managed to extract strong performances from his cast, particularly Tom Neal and Ann Savage, who portrayed the central characters, Al Roberts and Vera, respectively. Neal’s portrayal of the hapless pianist and Savage’s depiction of the fierce and manipulative femme fatale were instrumental in bringing the story to life.

Ulmer’s direction also extended to the post-production phase, where he maintained a hands-on approach. The film’s editing was tight and brisk, matching the rapid pace of its production. Ulmer’s background in German expressionism was evident in his attention to visual composition and the psychological depth he brought to the characters.

Despite the numerous challenges, Ulmer’s dedication and resourcefulness ensured that "Detour" emerged as a compelling and enduring work.

The film’s production, characterized by its ingenuity in the face of adversity, remains a testament to Ulmer's directorial prowess and the potential of low-budget filmmaking.

RELEASE: "Detour," released in November 1945 by Producers Releasing Corporation (PRC), a minor studio known for its low-budget productions, quickly transcended its humble origins to become a significant piece in film noir history. Despite its modest budget and short shooting schedule, the film garnered considerable attention for its stark, minimalist style and bleak narrative. The film's release came at a time when the noir genre was gaining popularity, and "Detour" stood out due to its raw, unpolished presentation and intense, fatalistic storyline. Directed by Edgar G. Ulmer, the film received mixed reviews from critics upon release, with some praising its tight, suspenseful narrative and others criticizing its low production values.

However, its gritty realism and the compelling performance by Tom Neal as the doomed protagonist, Al Roberts, resonated with audiences.

Over the years, "Detour" has been re-evaluated and is now regarded as a quintessential example of film noir. It has earned critical acclaim for its innovative use of limited resources, atmospheric cinematography by Benjamin H. Kline, and the haunting, existential tone that Ulmer achieved. The film's reputation continued to grow, leading to its inclusion in the National Film Registry in 1992 for being "culturally, historically, or aesthetically significant." Today, "Detour" is celebrated not just as a film noir classic, but also as a testament to the creativity and ingenuity possible in low-budget filmmaking.

CAST:

• Tom Neal as Al Roberts

• Ann Savage as Vera

• Claudia Drake as Sue Harvey

• Edmund MacDonald as Charles Haskell Jr.

• Tim Ryan as the Nevada Diner Propietor

• Esther Howard as Diner Waitress

• Pat Gleason as Joe, the Truck Driver

CREW:

• Director: Edgar G. Ulmer

• Producer: Leon Fromkess

• Writer: Martin Goldsmith

• Cinematographer: Benjamin H. Kline

• Editor: George McGuire

• Music: Leo Erdody

• Art Director: Edward C. Jewell

Production Company: Producers Releasing Corporation (PRC)
Distributor: Producers Releasing Corporation (PRC)

Release Date:
Country of Origin: United States
Running Time: 68 minutes
Budget: $30,000
Box Office Return: N/A

IMDB Rating =  7.3 / 10

Trivia:

• "Detour" is known for its distinctive use of voice-over narration, adding a haunting and introspective layer to the protagonist's journey.

• The film's bleak portrayal of fate and moral ambiguity was ahead of its time and has influenced numerous filmmakers and scholars studying the film noir genre.

• Despite its initial low-budget production and limited release, "Detour" has garnered critical acclaim and is now considered a classic example of film noir storytelling and cinematography.

• According to Ann Savage, she and Tom Neal did not get along during filming. Savage stated that Neal embarrassed her on the set by putting his tongue in her ear. She retaliated by slapping his face as hard as she could. After that incident, they did not speak to each other except when filming scenes.

• While the crew was setting up to film a hitchhiking scene, a passing car tried to pick up Ann Savage (made up to look dirty and disheveled), causing the crew to break out laughing.

• The budget PRC gave director Edgar G. Ulmer for this film was so small that the 1941 Lincoln Continental V-12 convertible driven by Charles Haskell was actually Ulmer's personal car.

• "Detour" was the first "B" movie chosen by the Library of Congress for its National Film Registry in 1992.

• The sweater worn by Ann Savage in the earlier parts of the film was yellow and belonged to Shirley Ulmer, the film's script clerk and the wife of the director. The sweater was actually a bit loose on Savage and had to be pinned in certain places so as to fit the actress more snugly.

• German filmmaker Wim Wenders called Ann Savage's performance as Vera "30 years ahead of its time."

• Ann Savage and Tom Neal made three movies together at Columbia Pictures before this film. PRC teamed them again for "Detour" to exploit the publicity and press buildup they had been given in 1943 and 1944.

• It is frequently reported that this film was shot only in one week. In truth, the shooting schedule was 28 days. The "one-week" myth appears to be based on an offhand remark by director Edgar G. Ulmer toward the end of his life.

• 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 US Hwy. 6 at Actis and Rosamond, CA, for the desert scenes and backplates for rear projection.

• To save on production costs, Leo Erdody, the film's composer, was recorded and filmed playing two classical piano pieces--Frédéric Chopin's "Waltz No. 7 in C# minor" and Johannes Brahms' "Waltz Op. 39 no. 15 in Ab Major"--as a favor for Edgar G. Ulmer. Al Roberts (Tom Neal) "performs" the piano pieces during scenes set in the "Break of Dawn" nightclub. Erdody's hands, in close-up, can be seen playing Brahms.

• Errol Morris' favorite film. He said of it: "It has an unparalleled quality of despair, totally unrelieved by hope."

• Ann Savage worked on her biography for the last decade of her life. It was released in early 2010 called "Savage Detours."

• The film is included on Roger Ebert's "Great Movies" list.

• Haskell's Edmund MacDonald rare 1941 Lincoln Continental convertible is one of only 400 made that model year. It sold for $2,865 (over $49,500 in 2024). In excellent condition, it could easily fetch $70,000 or more at auction. 

• Peter Bogdanovich planned a remake in the mid-'70s.

• Included among the American Film Institute's 2001 list of 400 movies nominated for the top 100 Most Heart-Pounding American Movies.

• Second-billed Ann Savage does not appear until 32 minutes into the movie.

• Included among the "1001 Movies You Must See Before You Die," edited by Steven Schneider.

• The Long Shot (1955) in the first season of Alfred Hitchcock Presents (1955) (11/27/1955) has a somewhat similar plotline.

• The $768 that Al gets would be equivalent to about $13,234 in 2024.

• Ann Savage's movie contract for this film is owned by movie actress Arlene Fontaine, niece of Hollywood bear trainer Stanley Beebe, who, the same year that "Detour" was released, had his bears Rosie the Bear and Minnie the Bear in Road to Utopia (1945) at Paramount Studios.

• Al's arrest at the end was not in the script, but censor Joseph Breen at the Production Code Administration did not permit murderers to get away with their crimes, so the shot of Al being picked up by the police was included at Breen's insistence.

• In this film, Tom Neal plays a young man who accidentally kills two people. Eerily, fiction later turned into reality when Neal himself was convicted of involuntary manslaughter for accidentally shooting and killing his wife, Gale Bennett, and served six years in prison.

• Al's accidental strangulation of Vera was not in the original script. Edgar G. Ulmer came up with it right before filming.

• To show Al traveling west, shots of a US map, with the camera scanning right to left, are interspersed with shots of him hitchhiking. The sequence makes sense to us because Al, his rides, and the camera's movement across the map all travel in the same direction (right to left). Later the direction is reversed (left to right) to depict Al returning back east from Los Angeles. Without a quantity of westward-bound shots he could use nor the means to shoot new ones, director Edgar G. Ulmer simply had the eastward-bound (left to right) shots reverse printed and used them to show Al traveling to, rather than from, L.A. This is why, in the beginning of the movie, we see Al hitch with his left thumb and ride in right-hand drive cars.

“Detour” remains a significant entry in the film noir canon, celebrated for its stark portrayal of fate, moral ambiguity, and the darker aspects of human nature. Edgar G. Ulmer's direction and the performances by Tom Neal and Ann Savage continue to captivate audiences interested in classic American cinema and the art of suspenseful storytelling.