Detour

Detour is considered film noir because of its masterful distortion of the audience's perception. This sleight-of-hand is, surprisingly, dealt by protagonist Al Roberts (played by Tom Neal). This is no hard-boiled tough guy. He's a soft-boiled misanthrope. That's what makes the dawning realization that this whining sycophant is likely a deadly psychopath all the more delicious.

Roberts, narrating the tale, claims he is guilty only of being at the wrong place at the wrong time. He illustrates his woe-is-me blues early in the film, especially when a $10 tip brings him no joy. That's equivalent to $132 today. Later he says, "Fate can put the finger of misfortune on you for no reason."

At first, I thought the plot, as told by Roberts, was sloppy B-movie writing. As it progressed I started to think this "sap," as Vera calls him, was not truly the victim in a disorienting web of circumstances. The narration is actually Roberts telling his story to a jury – or perhaps himself – to explain how he was innocent of any wrongdoing. He becomes an antihero by duping the audience into feelings of sympathy, if not affinity.

The "detours" are not the bad luck Roberts laments. No, this refers to Robert's lies when he edits reality to fit his victim narrative. I don't buy what he's selling. Roberts seeks to be the anti-hero, but he's not. Not unless the jury was comprised of suckers.