Two people trapped in a room spit out their hatred for each other. Before Sartre’s No Exit, before Pinter, Detour proved that Hell is these two people: Al (Tom Neal), a piano-playing loser hitching west to meet his girlfriend, and Vera (Ann Savage), the schemer who embodies all the bad luck a man could ever have. Ulmer, a classics-loving sophisticate trained at Germany’s Ufa studios, worked almost exclusively on Poverty Row, lending his craftsman’s luster and energy to shooting Yiddish- and Ukrainian-language musicals in New Jersey, Negro melodramas in Harlem, cheapo costume pictures in Italy and Spain. His most sustained stint was in the 40s at the off-Hollywood PRC, where, in six days on a few drab sets for $5,000, he made this uncompromisingly bleak tale of a sadist and a schlemiel. They can communicate only their mutual loathing in a realm where words can wound and a telephone cord is an inadvertently lethal weapon. Film noir? Yeah, baby. No film is noirer.
Minor social embarrassment—people start showing up for a dinner party its hosts are unaware they are throwing—turns into a genial exercise in surrealism. Buñuel, who had previously explored similar situations more dramatically, is in a good-natured, autumnal mood here (he was 72 when he made this movie). His six middle-class friends keep trying to have a nice meal together, but something—love-making, military exercises, criminal activities, even a sequence where they find themselves on stage in a play, playing themselves—keeps preventing them from breaking bread. Buñuel, abetted by his long time screenwriting partner, Jean-Claude Carrière, is a deft and casual movie magician, here grown rather fond of a class he has previously savaged on a regular basis, so he never strains for effect or big-time meaning. He just lets the fun (and the surprises) roll on. The result is sheer delight.
The Foo Fighters captured five Grammys and Adele won four, including the song of the year trophy for “Rolling in the Deep,” at a Grammy ceremony that had the difficult task of celebrating music’s best while mourning the loss of one of their greatest, Whitney Houston.
From Nicki Minaj’s Red Riding Hood getup to Katy Perry’s head-to-toe blue ensemble, TIME rounds up some of the best (and worst!) sartorial choices at the annual music awards show.