MovieChat Forums > Detour (1946) Discussion > The Heart of this movie

The Heart of this movie

posted 13 years ago by jswans01-1
5 replies | jump to latest

This is one of my favorite movies ever, which says a lot since so much of it-particularly the beginning-is bad. For me, the move starts when he picks up Vera.
There is one scene in particular that I always go right to, and it is one of the best scenes in the history and future of film.
It's when Vera says to him : "Take you for instance. You're lucky to be alive...There's plenty of people dying this instant that'd give anything to change places with you," then she reaches out for his hand, "I know what I'm talking about." Notice how her voice changes with each line. The first has her voice hard, in control. The second is still hard but weakened. The last is completely soft and vulnerable. She's ready to tell him that she's dying. She's desperate to tell somebody and have them care. "I know what I'm talking about." It's super heart breaking because we know she's talking about her, and even more so when her last opportunity to bond with anyone is ruined by Roberts supremely stupid reply. She really isn't an evil woman, she's about to die and is doing what she can to make her last days the best she can, with money. She'll ditch the money if she can have a connection. In another movie Roberts would've gotten that. In this one, he says what a loser really would. A loser thinks that they have it worse than everybody else, and that their stubbed toe is worse than cancer. He says "At least they know they're done for. They don't have to sweat blood worrying about it."
Her voice goes back to the hard when she says "Your philosophy stinks." But soft again when she says "I'm going to bed." She wants to get laid again before she dies. Our man Roberts can't even give her that.
I have a lot more to say on this one scene, but I'm not sure anyone will even ever read this. If anyone does and is interested in hearing more of what I have to say, let me know. I'd like to hear what you think too.

[–] gemproof99 13 years ago

Just watched the film again last night. Your observations are deep. Never realized how emotional this scene is to Vera. This went right by me. I did realize that she wants to bed Roberts and is rejected, but not that she is dying and longs for an emotional connection. I am going to watch this scene again tonight and post my thoughts on it.

[–] lanlguy 12 years ago

The reason we miss these subtleties is a technical one: the film is simply too short. It has a run-time of 67 minutes, barely enough time to realize what's going on. It could easily use another half hour dedicated to plot and character development. Vera would still come off as heartless but at least we'd know the reason she's so emotionally off-kilter and we'd have time to build some sympathy for her.

Don't blame poor Ulmer; there's a lot of Ed Wood here--lots of imagination and drive but no money to work with. Look at his SF gem The Man from Planet X (70 min). The shots of foggy Scotland were made from miniature sets just used in the making of Joan of Arc, and painted canvas backgrounds were used instead of real scenery.

Economy was the driving force for these B directors whose films were never meant to be more than the 2nd feature. It's amazing they were able to accomplish what they did.

[–] don-lockwood 10 years ago

Great analysis! I just saw the film and pretty much loved it. It went by so quickly, especially once Vera entered and it picked up. I love that the plot's curveballs come out of nowhere and that always keeps you guessing. It's easy to say that the film could've used another half hour for exposition, and I easily could've watched it for another half hour. But that ignores the economy of the script in its final form. I'm sure there was a lot from the script that was edited out or never even filmed, but it results in a very enigmatic, fast-paced film noir.

[–] garp-26 10 years ago

I agree. I think it's brevity is a strength. I would not have liked the movie so much if we were presented with more in the way of background detail around the characters, especially Vera. Although a number of reliable sources seem to suggest it was envisaged Detour was to have had a longer running time, it's pace compliments the plot turns as a consequence of the characters hasty decisions, acting on impulse and in particular Al, who portrays himself as a man caught up in rapidly descending circles beyond his control.
I hadn't thought of Vera facing up to her mortality, but its an interesting suggestion. Certainly in the scene described Ann Savage hints at other depths to the character rather than just a hard faced bitch. Her brief show of vulnerability is all we need to consider the possibility that if Al showed tenderness toward her she would ease the pressure on him. She's no beauty goddess but not in attractive. Despite her sulky face there's a dark sexuality in her piercing stare.
I take a male perspective as a man who in a tight spot might have found Vera desirable (perhaps Al' position is enforced by loyalty to his girlfriend?). However I often wonder how women react to this movie and which character would they most identify with?

[–] liscarkat (16592) 3 years ago

Yes, Vera and Ann Savage's portrayal of her are the heart, or the spark of this movie.