“Film Noir Restored” with Paul Karasik: DETOUR

| 1945 | 68 Minutes | | , , ,

Wednesday April 10, 2019


$12 General Admission, $9 Member,
$7 child age 14 or younger
Doors Open for admissions 30 min. prior to screening
Buy tickets at Film Center or online now BUY TICKETS

Special Introduction by Paul Karasik on these restored Film Noir classics.

Join us in the lobby beforehand for a glass of Pinot Noir and Dark Chocolate.

Detour, called by many the ultimate “film noir,” made on a shoe-string budget, and utilizing “night-for-night cinematography, creates a bleak, uncompromising, pessimistic nightmare world where its inhabitants can expect neither mercy, sympathy or justice. Al Roberts (Tom Neal) is the piano player in a sleazy New York nightclub. Sue (Claudia Drake) his girlfriend seeking stardom, leaves for Hollywood. Al follows, hitching a ride with a talkative, drug-addicted businessman who mysteriously dies during the trip. Al frightened that he will be blamed for the death, hides the body in a ditch and assumes the businessman’s identity. Needing company, Al picks up Vera (Ann Savage), a fellow hitchhiker who knows of Al’s deception. Vera, hostile, aggressive and with an annoying, nagging voice might be one of the most unbearably unpleasant female characters in a genre which celebrates wicked women. She blackmails Al, leading to one of the most memorable death scenes in film history. Director Edgar G. Ulmer, limited to a six-day shooting schedule, while crude and lacking in finesse, succeeds in creating a memorable, dark, nightmare world, uncaring, cynical and brutal. Detour is a bleak gem which has gained well-deserved cult status.

Paul Karasik has selected these films as prime examples of Must-See Film Noir. Paul is an Eisner Award-winning cartoonist whose work has appeared in the New Yorker and whose graphic novels have been translated worldwide.


"It lives on, haunting and creepy, an embodiment of the guilty soul of film noir. No one who has seen it has easily forgotten it." - Roger Ebert

"One of the most daring and thoroughly perverse works of art ever to come out of Hollywood." - Chicago Reader

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