DETOUR

US, 1945, 65 minutes, Black and white.
Tom Neal, Ann Savage.
Edward G. Ulmer.

Detour is a brief thriller of the '40s which has gained something of a cult reputation. Its director, Edgar G. Olmer, was very influential in the '30s and '40s with the New York Yiddish film 'industry. In moving to Hollywood, he made a number of small-budget black and white thrillers, some of which have attained classic status. This is a film noir, a thriller about a hero who (goes to see his girlfriend in Los Angeles and hitch-hikes across American - with dire results. Small-budget, studio sets, unknown stars - nevertheless, with -its hard-edged dialogue and voice-over, it echoes the private eye thrillers of the tine, shows the hero fingered by fate and the femme fatale. Not startling, but effective as a brief drama of the '40s.

1. The status of the film, cult movie, the work of the director?

2. The budget, sets, black and white photography? The musical score and the use of 'I Can't Believe That You're In Love With Me' and 'I'm Always Chasing Rainbows' as well as the classics and the jazz variations?

3. The title: structure, the hard-bitten style, dialogue and voice-over? The audience stance? The introduction to AI: angry, refusing to talk to the driver, angry with the music? His memories? In New York, his piano-playing and skills, in love with Sue, her going to Hollywood, his getting money for his playing phone calls, decision to go to Hollywood? The map of America and his hitchhiking, his story about hitchhiking, dangers? Arizona, being picked up by Haskell, Haskell taking the pills, his driving, discovering Haskell dead?

4. His dilemma, arguments and logic, deciding to hide the body, take the car and the money and the identity? His arguing with himself? The encounter with Vera, her tough talk, pressures? The possibilities? The apartment, waiting, drinking, arguing? Selling the car and the build-up to getting the money, not having the insurance papers? The newspaper and the new plan, his clashing with Vera? Trying to phone Sue? His clash with Vera, her drinking, getting the telephone and actually killing her? The papers, the information about Haskell being wanted by the police?

5. His finally wandering the highway, imagining the police arresting him, his attitude towards fate?

6. Vera, on the road, tough, her scratching Haskell, her theories about what she could do with Al, the facts, the pressure, her arguing with him, the apartment, not selling the car, the irony of her death?

7. Haskell, the ride, going to Los Angeles, the pills, the death, the facts about his father, the inheritance, murdering his wife?

8. The sketch of Sue - singing, hopes in Hollywood, lack of success, a possibility for Al and happiness?

9. A moody film, from the period of the noir thrillers, a B-thriller, style and observation of the human situation?