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The List Thus Far (Certified Weird Movies)

3 Women (1977)

8 1/2 (1963)

The 5,000 Fingers of Dr. T (1953)

The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984)

Akira (1988)

Alice [Neco Z Alenky] (1988)

Alice in Wonderland (1966)

Allegro non Troppo (1976)

Altered States (1980)

The American Astronaut (2001)

Antichrist (2009)

Archangel (1990)

Bad Boy Bubby (1993)

Barbarella (1968)

Barton Fink (1991)

The Beast of Yucca Flats (1961)

Beasts of the Southern Wild (2012)

Begotten (1991)

Being John Malkovich (1999)

Belle de Jour (1967)

The Black Cat (1934)

Black Swan (2010)

Blood Diner (1987)

Blood Tea and Red String (2006)

A Boy and His Dog (1975)

Branded to Kill (1967)

Brazil (1985)

Bronson (2008)

Careful (1992)

Carnival of Souls (1962)

Cemetery Man [Dellamorte Dellamore] (1994)

Un Chien Andalou (1929)

The City of Lost Children [La cité des enfants perdus] (1995)

Clean, Shaven (1993)

A Clockwork Orange (1971)

Cowards Bend the Knee, or, the Blue Hands (2003)

Daisies [Sedmikrásky] (1966)

The Dark Backward (1991)

Dead Man (1995)

Dead Ringers (1988)

Delicatessen (1991)

Dillinger is Dead (1969)

Doggiewogiez! Poochiewoochiez! (2012)

Dogtooth [Kynodontas] (2009)

Dogville (2003)

Donnie Darko (2001)

Don't Look Now (1973)

Elevator Movie (2004)

Enemy (2013)

Enter the Void (2009)

Eraserhead (1977)

Escape from Tomorrow (2013)

Eternal Sunshine of the Spotless Mind (2004)

Even Dwarfs Started Small (1970)

Evil Dead II (1987)

Eyes Without a Face [Les Yeux sans Visage] (1965)

Fantastic Planet [La Planète Sauvage] (1973)

Fear and Loathing in Las Vegas (1998)

Fellini Satyricon (1969)

Final Flesh (2009)

Forbidden Zone (1982)

Funky Forest: The First Contact (2005)

Glen or Glenda (1953)

Gothic (1986)

Gozu (2003)

La Grande Bouffe (1973)

Greaser's Palace (1972)

Gummo (1997)

Häxan [Witchcraft Through the Ages] (1922)

Hedwig and the Angry Inch (2001)

Help! Help! The Globolinks [Hilfe! Hilfe! Die Globolinks] (1969)

Holy Motors (2012)

The Holy Mountain (1973)

The Horrors of Spider Island [Ein Toter hing im Netz] (1960)

House [Hausu] (1977)

Howl's Moving Castle (2004)

I Can See You (2008)

Idiots and Angels (2008)

I'm A Cyborg, But That's OK [Saibogujiman Kwenchana] (2006)

The Immaculate Conception of Little Dizzle (2009)

L'Immortelle (1963)

Ink (2009)

INLAND EMPIRE (2006)

Institute Benjamenta, or This Dream People Call Human Life (1995)

Jacob's Ladder (1990)

John Dies at the End (2012)

Johnny Got His Gun (1971)

Keyhole (2011)

Kontroll (2003)

Kung Fu Hustle (2004)

Kwaidan (1964)

The Lair of the White Worm (1988)

The Legend of Suram Fortress [Ambavi Suramis Tsikhitsa] (1984)

Lisztomania (1975)

Little Otik [Otesánek] (2000)

Lost Highway (1997)

Love Exposure (2008)

Lucifer Rising (1981)

Maelstrom (2000)

Malpertuis (1972)

Maniac (1934)

Marquis (1989)

Meshes of the Afternoon (1943)

The Milky Way [La Voie Lactee] (1969)

Mr. Nobody (2009)

Mulholland Drive (2001)

Naked Lunch (1991)

Night of the Hunter (1955)

Night Train to Terror (1985)

Nosferatu (1922)

Nostalghia (1983)

O Lucky Man! (1973)

Pan's Labyrinth (2006)

Paprika (2006)

Performance (1968/1970)

Persona (1966)

Phantasm (1979)

Pi (1998)

The Pillow Book (1996)

Pink Flamingos (1972)

Pink Floyd the Wall (1982)

Prospero's Books (1991)

The Red Squirrel [La Ardilla Roja] (1993)

The Reflecting Skin (1990)

Repo Man (1984)

A Report on the Party and Guests (1966)

Repulsion (1965)

Robot Monster (1953)

The Rocky Horror Picture Show (1975)

Rubber (2010)

Run Lola Run (1998)

The Saddest Music in the World (2003)

Sans Soleil (1983)

Santa Sangre (1989)

The Science of Sleep (2006)

A Serious Man (2009)

Shanks (1974)

Shock Corridor (1963)

Silent Hill (2006)

Sin City (2005)

The Singing Ringing Tree (1957)

Skidoo (1968)

Solaris [Solyaris] (1972) -

Songs from the Second Floor (2000)

Stalker (1979)

Steppenwolf (1974)

Strange Frame: Love & Sax (2012)

Suspiria (1977)

Sweet Movie (1974)

The Swimmer (1968)

Synecdoche, New York (2008)

Tales from the Quadead Zone (1987)

Taxidermia (2006)

Tetsuo: The Iron Man (1989)

Tideland (2005)

Time Bandits (1981)

The Tin Drum (1979)

Tokyo Gore Police (2008)

El Topo (1970)

Toto the Hero [Toto le Heros] (1991)

Trash Humpers (2009)

The Tree of Life (2011)

The Trial (1962)

The Triplets of Belleville (2003)

Tromeo & Juliet (1996)

Uncle Boonmee Who Can Recall His Past Lives (2010)

Upstream Color (2013)

Valerie and Her Week of Wonders (1970)

Vertigo (1958)

Videodrome (1983)

Visitor Q (2001)

Waking Life (2001)

Weekend (1967)

The Wicker Man (1973)

Willy Wonka and the Chocolate Factory (1971)

Yellow Submarine (1968)

You, the Living [Du Levande] (2007)

Zardoz (1974)

EDGAR G. ULMER’S DETOUR (1945)

Reviewing ‘s Detour (1945), critic Dennis Schwartz wrote: “For some, being outside the system is as natural as walking in the fog.” That about sums up Ulmer. It also sums his Detour star, Tom Neal. Ulmer was an aesthetic outsider who made poor choices in his personal life but tried, sometimes in vain, to bring an artistic sensibility to everything he worked on. Neal was an outsider of a different sort. Despite having received a law degree from Havard, Neal turned to amateur boxing, which only partly satisfied his extremely violent temper. In 1951, that temper and jealousy got the better of him with in a tussle with actor Franchot Tone over the affections of actress Barbara Payton. Tone received a brain concussion, and Neal was permanently blacklisted by Hollywood. The actor was reduced to restaurant work and eventual bankruptcy. In 1965, Neal took a gun to the back of his wife’s head and shot her to death. Incredibly, he received a mere six-year sentence, but he died within a few months of his release from prison in 1971. His son, Tom Neal, Jr. attempted to follow in his father’s thespian footsteps, appearing in a remake of Detour (1991) that no one seems to have seen.

Shot on the quick and cheaply, Detour defies the rules of Poverty Row aesthetics. In his review of Ulmer’s Detour, critic Roger Ebert acknowledges the film’s flaws: “Detour is a film so filled with imperfections that it would not earn the director a passing grade in film school.” And yet it is greater than the sum of it’s parts, defying the “aesthetics only” art school rule. Ebert adds, ” Yet, Detour lives on, haunting and creepy, an embodiment of the guilty soul of film noir.”

The pessimism of Detour drips into the nitrate of Ulmer’s bubblegum Shakespearean saga. Al (Neal) is a pianist who prostitutes his art in dives. Ulmer symbolizes this in idiosyncratic fashion by Al’s transformation of a Brahms piano piece into a grotesque, possessed, populist parody. Picasso once said that all art, regardless of subject, is self-portrait. Al eerily mirrors Ulmer in the portrait of a highly cultured artist who is reduced to a career gutter through his own missteps. It is little wonder that Detour was Ulmer’s favorite of his own films.

Still from Detour (1945)Fate is an ambivalent, malevolent force relentlessly and unjustly dogging Al. He responds with self-pity tightly wrapped in ten cent philosophy. Al, like Bluebeard, is waxing bitter over a woman. His curse is to be in love with the ambitious Sue (Claudia Drake). Sue’s dreams of a successful Hollywood career provoke jealousy within Al and serves as a biting reminder of his own failed career. She departs and settles, albeit uncomfortably, in the land of opportunity. Although destitute, Al vows reconciliation and embarks upon a thumbed journey to his Sue. Through flashbacks and crackerjack narration, we learn of Fate’s plans for Al. Al, already convinced of his own failure, goes out of the way to accommodate his self-willed, doomed destiny.

A guardian angel named Haskell (Edmund McDonald) drops down like heavenly manna. Alas, the devil triumphs through deception. Haskell, desiring company, offers to take Al all the way to Santa Anita. However, Haskell unexpectedly dies of a heart attack. In a memorably surreal scene, Haskell’s death sends Al into a state of panic and leads to a bizarre, poor choice. Rather than call the police, Al hides Haskell’s body and steals his car, money, and identity.

Al picks up Fate herself in the guise of a ferociously crass femme fatale with the perfectly trashy name of Vera (Ann Savage). Vera unleashes a noir apocalypse upon Al’s fragile world. Savage’s performance is unprecedented in the annuls of film noir. Comparatively, Angelina Jolie is a spayed kitten. It is relatively easy to sympathize with Al’s masochistic impotence.

Yet, the tragic twist of fate and desolate finale are projected fantasies. Detour received little notice upon its release, but within five years, it started to attain cult status. The old maxim of life imitating art holds true to much regarding Detour. Like Al, Neal became stained with the mark of Cain. Savage died in obscurity. And despite the relatively quick cult status awarded Detour, it did nothing to help Ulmer’s career. It simply wasn’t in the deck of cards Fate dealt this Poverty Row director.

Next week: Ulmer’s The Man From Planet X (1951)

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