Detour
Written by Marin Goldsmith and Martin Mooney
Directed by Edgar G. Ulmer
U.S.A., 1945
The women of film noir, those seductive, cruel creatures baptized ‘femmes fatales’ (French for ‘deadly women’) present a unique sort of challenge for the male protagonists. All too often the latter is at least somewhat aware of the former’s cold intentions yet takes the bait anyways out of some delusional belief that they can outwit her and end on top, pardon the pun. Despite that the batting average for said vixen is incredibly high with respect to making the man’s life a living hell, there is usually a semblance of level footing, the male protagonist for the most part believing in his ability to counter his opposite’s mischievous.
In that sense, Edgar G. Ulmer’s Detour is a fitting title for many reasons which shall be explored shortly. The story opens...
Written by Marin Goldsmith and Martin Mooney
Directed by Edgar G. Ulmer
U.S.A., 1945
The women of film noir, those seductive, cruel creatures baptized ‘femmes fatales’ (French for ‘deadly women’) present a unique sort of challenge for the male protagonists. All too often the latter is at least somewhat aware of the former’s cold intentions yet takes the bait anyways out of some delusional belief that they can outwit her and end on top, pardon the pun. Despite that the batting average for said vixen is incredibly high with respect to making the man’s life a living hell, there is usually a semblance of level footing, the male protagonist for the most part believing in his ability to counter his opposite’s mischievous.
In that sense, Edgar G. Ulmer’s Detour is a fitting title for many reasons which shall be explored shortly. The story opens...
- 5/3/2013
- by Edgar Chaput
- SoundOnSight
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