Words Aren’t All

The widow of screenwriter Martin Goldsmith makes a case for her husband’s script having been the primary determinant of “Detour” (1945) having become a film noir classic (Letters, Aug. 15). Were Goldsmith’s detailed screenplay singularly responsible for the good outcome, wouldn’t a remake from the same screenplay be expected to be just as much a classic?

“Detour” was remade, yet the 1992 version scarcely enjoys the reputation of the original directed by Edgar Ulmer. The remake is faithful, even incorporating the 20 minutes of additional script that Ulmer excised to deliver his movie at the 69-minute length that suited his studio’s desire to place the film on double-feature programs. Not as hamstrung financially, the remake permitted an actual sidewalk to be filmed where Ulmer had shrouded his actors in dense fog lest it be seen no New York street could be simulated in the sparse budget for sets.

Ulmer’s film benefits from his pacing, counsel of actors, sensitivity in camera movements and other talents, among which was his respect for his screenwriter and that man’s words.

DAVID P. HAYES

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