Edgar G. Ulmer: Detour on Poverty Row

Edgar G. Ulmer: Detour on Poverty Row illuminates the paintings of this under-appreciated movie auteur via 21 new essays penned via a number students from all over the world. Ulmer, an immigrant to Hollywood who fell from grace in Tinseltown after just one studio movie, grew to become one of many reigning administrators of Poverty Row B-movies. established in 4 sections, half I examines a variety of contexts vital to Ulmer's occupation, equivalent to his paintings on the manufacturers liberating company (P.R.C.), and his paintings in exploitation movies and ethnic cinema. half II analyzes Ulmer's movie noirs, that includes an emphasis on Detour (1945) and homicide Is My Beat (1955). half III covers quite a few Ulmer's person movies, starting from Bluebeard (1944) and Carnegie corridor (1947) to the guy from Planet X (1951) and Daughter of Dr. Jekyll (1957). half IV concludes the quantity with a case examine of The Black Cat (1934), providing 3 assorted analyses of Ulmer's landmark horror movie.

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Ulmer offers stock footage of famous Parisian landmarks such as the Arc de Triomphe, but then quickly shifts to the Moulin Rouge, and only a few scenes later, viewers find themselves in an American nudist camp. ”30 Such combinations produce shock, and Ulmer was a master of exploiting that emotion because in exile, much was unfamiliar to Ulmer. A popular character in most Ulmer films is the outsider, the 34 CHRISTOPHER JUSTICE displaced and restless stranger trying to find certainty in an uncertain universe.

He’d been with a streetwalker,” has a pox like rash throughout his body; another woman “thought” she had rheumatism; and another woman had seven children—each damaged in some disturbing way. ”42 This type of spectacle haunts viewers and provided Ulmer an opportune platform to exercise his visual muscles. The conclusion of Girls in Chains is reminiscent of an expressionistic noir and seemingly derived from the set of Metropolis. As detective Frank Donovan chases Moon across a rooftop, the architectural chaos of a spiral staircase and the city skyline adds layers of confusion to an already tense scene.

For instance, during the first of the film’s three flashbacks, Roberts’s voiceover informs the spectator that despite the drabness of his job in a second-class nightclub, his relationship to Sue made life heaven. This statement, however, is followed by a short scene where a very cynical Roberts refuses Sue’s affection and proclaims that he will never become the pianist he always wanted to be. Not surprisingly, Sue leaves him in search of a better future in Los Angeles. ” The image that supports his words, however, portrays him counting the money and putting it in his pocket without a trace of regret or disgust in his face.

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