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Director/Director: Edgar G. Ulmer

Producción/ Co-producción: Leon Fromkess

Cast/Protagonistas: Tom Neal, Ann Savage, Claudia Drake , Edmund MacDonald

Year/Año: 1945

Duration/Duración: 68 Min

País/Países: USA

Formato: DCP

Género: Drama, Crimen, Cine Negro

Idioma Original: Inglés


En Nueva York, el pianista Al Roberts se lamenta cuando su novia, la cantante Sue Harvey, se va a Hollywood. Cuando Al consigue algo de dinero, decide hacer autostop a California para unirse a Sue. En Arizona, Al acepta un viaje con Charles Haskell, pero durante una tormenta, en un extraño accidente, Haskell es asesinado. Asustado, Al asume la identidad de Haskell, pero pronto se encuentra con la misteriosa Vera, quien parece saber todo sobre su verdadera identidad.

Película restaurada por The Academy Film Archive y The Film Foundation, en colaboración con la Cinémathèque Royale de Belgique, el Museo de Arte Moderno y la Cinémathèque Française, con financiación de George Lucas Family Foundation.

In New York, piano player Al Roberts laments when his singer girlfriend, Sue Harvey, leaves for Hollywood, Calif. When Al gets some money, he decides to hitchhike to California to join Sue. In Arizona, Al accepts a ride with Charles Haskell, but during a storm in a freak accident, Haskell is killed. Frightened, Al assumes Haskell’s identity and car, but soon comes upon the mysterious Vera, who seems to know all about his true identity.

Edgar G. Ulmers 1945 classic, made at the Poverty Row production company PRC somewhere between 14 and 18 shooting days for $100,000, has come to be regarded, justifiably, as the essence of film noir. Ulmer and his team turned the very cheapness of the enterprise into an aesthetic asset and created a film experience that reeks of sweat, rust, and mildew. For years, Detour was only available in dupey, substandard prints, which seemed appropriate. In the 90s, a photochemical restoration improved matters, but the quality was far from optimal. Now we have a restoration of a different order, made from vastly superior elements. To be able to see so much detail in the frame, in the settings and in the faces of the actors,says Martin Scorsese, is truly startling, and it makes for a far richer and deeper experience.” A Janus Films release.

Restored by the Academy Film Archive and The Film Foundation, in collaboration with the Cinémathèque Royale de Belgique, The Museum of Modern Art, and the Cinémathèque Française, with funding from the George Lucas Family Foundation.

Casa: The Academy of Motion Picture Arts and Sciences

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