Touch of Evil [M]

Honourable Mexican cop, Miguel ‘Mike’ Vargas, is on his honeymoon with his beautiful blonde American bride Susan. But an untimely explosion brings the romantic holiday to a quick close, as legendary American detective Hank Quinlan crosses the border to help on the case and jurisdictions begin to clash. Meanwhile the case thickens as Susan is waylaid by a band of Mexican thugs who are relatives of a drug dealer Mike has convicted and soon a terrifying game of cat-and-mouse between the honourable and the corrupt takes place, with poor Susan a terrorised pawn on the board. 

Originally made in 1958, Orson Welles’ noir Touch of Evil went through two or three reedits before being rereleased in 1998 according to a memo of instructions that Welles had left after voicing his dislike of Universal’s editing. It’s probably important here for me to note that this is that version restored to Orson Welles’ specifications. 

Although the film is done beautifully with very masterful, stylised techniques from Welles, I’m still not completely solid as to whether or not I actually enjoyed it. For me, the emotional responses piqued in this movie are ones of anger, annoyance, and hatred. Shaping a double-edged sword now, these feelings that I experienced were achieved through Welles’ wonderful use of light, music, dialogue, and his performance in general. There is a lot to admire about this movie and it doesn’t surprise me that it continues to be a piece of cinema most celebrated. 

Honourable Mexican cop, Miguel ‘Mike’ Vargas, is on his honeymoon with his beautiful blonde American bride Susan. But an untimely explosion brings the romantic holiday to a quick close, as legendary American detective Hank Quinlan crosses the border to help on the case and jurisdictions begin to clash. Meanwhile the case thickens as Susan is waylaid by a band of Mexican thugs who are relatives of a drug dealer Mike has convicted and soon a terrifying game of cat-and-mouse between the honourable and the corrupt takes place, with poor Susan a terrorised pawn on the board. 

The style of the film is very different, as depicted by the very first shot. A 3-minute tracking shot swooping and trundling along from various angles, mid, and long shots, the opening of this movie really establishes a sense of place without the use of dialogue and very subtly shapes the tension and the mystery that later becomes so critical. 

Welles’ performance as the legendary Hank Quinlan is wonderful, namely for the fact that you cannot, no matter how hard you try, come to like this guy. You loath him right from the off with his slurred dialogue, heftily padded fat-suit, shiny sweaty face, and shadow stubble, all of which works together to shape this man who is both hugely imposing and intimidating, but also just makes you see red. 

On the opposite end of the spectrum, Charlton Heston as the honourable ‘good cop’ Vargas is all ideals and value. Unconvincing as a Mexican, Heston’s performance is nonetheless interesting as his determination to expose Quinlan’s corruption takes a bit of that moralistic shine away and creates a shiny sweat of its own. 

You’re heart really goes out to Janet Leigh who plays Susan. The poor victim who’s level-headedness and bravery at the start is gradually broken down as each act moves through, Janet delivers a lovely performance; making her the only character whom you can really like. 

Amidst the mysteries and crime capers that flesh out the bulk of this movie there are also racial and political slurs that help to establish where we are in the world and add further levels of drama and suspense into the mix. 

Starring Joseph Calleia, Akim Tamiroff, Joanna Cook Moore, Ray Collins, Dennis Weaver, Valentin de Vargas, Mort Mills, Victor Millan, Lalo Rios, Risto, Michael Sargent, Phil Harvey, Joi Lastin, Marlene Dietrich, and Zsa Zsa Gabor, Touch of Evil stands a masterfully crafted piece of cinema that stimulates all the feelings you wouldn’t really expect in a crime movie. Filled with action, threats, plot surprises, drugs, drama, corruption, and suspense, I can see why it’s celebrated in cinema, but I’m not personally completely sold on it. It leaves a bit of a funny taste in my mouth.