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By: August Film: Detour Analysis

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[…] ‘It is no accident that the hitchhiker’s intended destination should be Hollywood where he will find success and happiness. (There is even one shot in which two characters are framed in a window that looks for all the world exactly like a movie screen.) After a decade of Jive Junctions and Women in Chains, of limited options and illusory freedom, of entrapment within the economic imperatives of Hollywood, Ulmer was exceedingly well-equipped to handle Detour‘s desperate fatalism. The film’s grim acceptance of a malignant fate, its deliberate mockery of some of the more facile American myths, its singular admixture of the banal and the bizarre surely reflect the director’s belief in the existence of the illusion of free choice, not the substance of free will. It is hardly surprising that he made of this project perhaps the finest of his ten-day wonders, a forceful and compelling articulation of a distinctive world-view.’ – David Coursen, ‘Detour: Closing Down the Open Road’, Movietone News 48 (February 1946) […]


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