“The Big Shots aren’t little crooks like you. They’re politicians.”
If Karl Marx baked a birthday cake and laced it with marijuana, the results would probably be very similar to You and Me (1938), a delicious grab bag of a movie which combines humour, film-noir, romance, musical numbers and a social message all to delightful – and dizzying – effect. But what did Paramount expect when they asked Fritz Lang, the German director best known for his Weimar-era expressionist films such as Metropolis (1927) and M (1931), to direct a romantic comedy?
Continue reading “Once Upon a Time…Fritz Lang Made a Romantic Comedy (You and Me, 1938)”
“There oughta be a law against dames with claws.”
Straight out of Poverty Row, what Detour (1945) lacks in budget, it makes up for in style. Written by Martin Goldsmith (The Twilight Zone) and starring Tom Neal and the inimitable Ann Savage, Detour is to film noir what The Public Enemy (1931) is to the gangster flick: it isn’t the first in its genre but it’s certainly one of the most definitive and influential. In A Pictorial History of Crime Films (1975), author Ian Cameron calls Detour “well in the running to being the cheapest really good talkie to come out of Hollywood.”
There’s no Public Enemy-style grapefruit in Detour but if there was, it would undoubtedly be Ann Savage smashing the breakfast fruit into Tom Neal’s face and not the other way around. As Vera, the unhinged hitchhiker whom our wide-eyed protagonist Al Roberts (Neal) has the misfortune of picking up, Savage is the most dangerous of all film noir dames: the femme who puts the “fatal” in femme fatale.
Continue reading “A Savage Detour into Hell: Review of Detour (1945), the (Tough) Mama of Film Noir.”