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: Detour (1945)  ( 16762 )
T.H.
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« #30 : December 03, 2018, 02:56:17 PM »

That restoration job looks amazing. I might be alone here but Detour is the ultimate written in 4 days and shot in 3 days cheapjack movie. One of the best B movies ever and the single best of the poverty row era. Decoy (1946) is up there too.



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« #31 : December 17, 2018, 11:23:30 AM »

March: https://www.criterion.com/films/29614-detour?



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« #32 : December 17, 2018, 02:20:50 PM »

Perhaps the most overrated movie ever.

It's not bad - it belongs on the list of decent, cheap noirs, around a 7/10 or 7.5/10. It is not a great film.


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« #33 : March 22, 2019, 10:47:38 AM »

https://www.criterion.com/current/posts/6257-some-detours-to-detour

Quote
This cinematic staging of Al Roberts’s steadily more suspect story is, I submit, the signal achievement of Detour. In The Conversations: Walter Murch and the Art of Editing Film, his book of interviews with the great sound and film editor, Michael Ondaatje focuses on two styles of filmmaking—the first, associated with Alfred Hitchcock, where “a film is already complete in the creator’s head”; the second, associated with Francis Ford Coppola, “that thrives on process, where one choreographs and invents and gathers during the process of filmmaking.” The surviving documentation suggests that Detour is a dazzling instance of the process type. The vision of the film remained inchoate right until the last possible transactions of the filmmaking operation. The ambiguous design was finally accomplished by stripping away characters and alternate viewpoints that had survived into the final shooting script, and beyond. The determination to lock the film fully inside Roberts’s disturbed consciousness emerged late, on set or during editing.

« : March 22, 2019, 10:55:25 AM dave jenkins »


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« #34 : March 22, 2019, 01:11:07 PM »

thanks


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« #35 : March 25, 2019, 09:09:00 AM »

I watched this for the first time, it was the Criterion Channel's weekly movie - their new restoration.

The restoration was excellent, very impressive (I had seen clips of this from public domain DVDs and it looked and sounded like garbage).

I wasn't a fan of the movie though. it's a short runtime which is great, stylistically not bad, but the story is really dumb.

The main character, to be honest, is a fucking idiot to think that the cops wouldn't believe him that he didn't murder the other man. Just tell them the story. Show them the drugs he was taking. Why risk everything by lying and covering up a non-murder?

And it's really far fetched that the hitchhiking girl recognized the guy's car. And she was a very annoying actress.

Not recommended unless for noir aficionados.

EDIT: Wow, looks like I HAVE seen the whole thing, considering this thread starts with my review. Goes to show how forgettable it is. Man, younger me was stupid to give this a 6/7. This movie stinks.

« : March 25, 2019, 09:10:10 AM PowerRR »
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« #36 : March 25, 2019, 12:54:00 PM »



EDIT: Wow, looks like I HAVE seen the whole thing, considering this thread starts with my review. Goes to show how forgettable it is. Man, younger me was stupid to give this a 6/7. This movie stinks.

 ;D ;D ;D ;D ;D ;D ;D


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« #37 : May 23, 2020, 01:39:12 PM »

C o l o r i z e d! https://ok.ru/video/1635086568176

« : May 23, 2020, 01:41:44 PM dave jenkins »


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« #38 : December 27, 2020, 01:39:09 AM »

Eddie Muller's intro https://youtu.be/BPQ2sjHAdSA

Eddie Muller's outro https://youtu.be/Y8OOYVpI460


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« #39 : December 27, 2020, 01:42:50 AM »

Eddie Muller's intro https://youtu.be/BPQ2sjHAdSA

Eddie Muller's outro https://youtu.be/Y8OOYVpI460

turns out Eddie also showed this movie on TCM in 2017, but I somehow missed recording it

if you'd like to see his 2017 comments, here is that 2017 intro https://www.youtube.com/watch?v=PQsu-NwSKK4

and here is that 2017 outro https://www.youtube.com/watch?v=kY-5hPp8MBo

here is the 2017 intro/outro in one video (though lower quality than the two separate links provided above) https://www.youtube.com/watch?v=khRLZ9Mk_AY

« : December 29, 2020, 02:13:09 PM drinkanddestroy »

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« #40 : December 29, 2020, 01:18:00 PM »

Upon a re-watch, there is serious dream theory, or nightmare theory, potential with this movie. Tom Neal's character is a major pessimist and you can almost view this movie as him daydreaming about how a cross country trip to visit his girlfriend would play out while playing the piano -- or maybe he just runs out of money in some nowhere town and imagines how the rest of the trip would go.

At the very least, this is a very dreamy movie, and the way that it's shot sort of speaks to that. It's a masterfully made movie, especially considering the lack of time and money. Tom Neal and Ann Savage are great, even though Savage's performance can range from brilliant to a little hammy. And the music here is fantastic as well. This is a stone cold classic and better on additional views. A

The Criterion bluray is gorgeous, and out of the public domain stuff, I at least hope D.O.A. receives similar treatment. 

« : December 29, 2020, 01:21:30 PM T.H. »


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« #41 : December 29, 2020, 03:37:47 PM »

Upon a re-watch, there is serious dream theory, or nightmare theory, potential with this movie. Tom Neal's character is a major pessimist and you can almost view this movie as him daydreaming about how a cross country trip to visit his girlfriend would play out while playing the piano -- or maybe he just runs out of money in some nowhere town and imagines how the rest of the trip would go.
This seems like a plausible reading.

Some time back I worked up a similar theory, using material you can find it on the first page of this thread. Here's the digest version:

Quote
"Most critics of Detour have taken Al's story at face value: He was unlucky in love; he lost the good girl and was savaged by the bad girl; he was an innocent who looked guilty even to himself. But the critic Andrew Britton argues a more intriguing theory in Ian Cameron's Book of Film Noir. He emphasizes that the narration is addressed directly to us. We're not hearing what happened, but what Al Roberts wants us to believe happened. It's a spurious but flattering account, he writes, pointing out that Sue the singer hardly fits Al's description of her, that Al is less in love than in need of her paycheck, and that his cover-up of Haskell's death is a rationalization for any easy theft." (Ebert, The Great Movies, 134-136).

In fact, the plot sounds like a yarn told in the exercise yard by an inmate who has worked it up to demonstrate the injustice of his sentence. He's innocent, a victim of fate and circumstances. Maybe the film is just Roberts' first run-through before the cops pick him up, a rehearsal to make sure he's got his "facts" straight.

« : December 29, 2020, 03:39:51 PM dave jenkins »


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« #42 : December 31, 2020, 12:04:39 AM »

DJ, I like that theory as well, and it may be more plausible. Suffice to say, I think criticizing the plot for not being realistic is totally the wrong way to go here. This movie is special.



Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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