Touch of Evil (1958)
Critic Consensus: Artistically innovative and emotionally gripping, Orson Welles' classic noir is a visual treat, as well as a dark, sinister thriller.
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as Hank Quinlan
as Ramon Miguel `Mike' Vargas
as Susan Vargas
as Pete Menzies
as Uncle Joe Grandi
as District Attorney Adair
as Motel Clerk
as Marcia Linnekar
as Manolo Sanchez
as Pretty Boy
as Gang Leader
as Strip Joint Owner
as Gang Member
as Gang Member
as Gang Member
as Young Delinquent
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Critic Reviews for Touch of Evil
Made in 1958, it was Orson Welles's last Hollywood film, and in it he makes transcendent use of the American technology his genius throve on; never again would his resources be so rich or his imagination so fiendishly baroque.
Expressionistic in the extreme, filled with shadows, angles and cinematic flourishes, the film raises the usual brooding nightmare ambiance of film noir to a level few other pictures have attempted.
Having the Touch of Evil envisioned by our most creative filmmaker, is a wondrous gift no movie lover should miss.
[Welles'] scenes with brothel-keeper Marlene Dietrich have nothing to do with the plot and everything to do with the rotting heart of this amazing fable: the apotheosis of pulp.
Indeed, just to see and hear the extraordinary 3 minute and 20 second opening sequence -- a fluid tour de force tracking shot -- without impediment of opening credits and street-sound-masking movie score is accomplishment enough.
Audience Reviews for Touch of Evil
Even the bad in this, and there's plenty of that, plenty, is better than most of the poop you usually digest. Excellent performances throughout. Janet Leigh's amazing until you see what Dietrich could do with a single shot.
It is great to be able to see this film now as Welles first intended it to be, a very complex character study (and also visually dazzling, opening with a gorgeous long tracking shot) about a corrupted man strongly convinced that any means are justifiable to achieve his idea of justice.
An iconic, misanthropic, film noir, "Touch of Evil" is one of Orson Welles' last Hollywood ventures and one of his best and critically received films of all time. Welles has his memorable directing style, choice of mis-en-scene, and elaborate choices in acting covering this film from top to bottom. From the bleak atmosphere, to the dark and seedy undercurrent of violence in the police department, to the cultural differences between Mexico and America on a border town, every choice in this film is magnificent. Welles also made the interesting choice to make all the music used within the film diegetic, so it plays from radios and passing cars, and not from a score. Even the plot of the film seems strangely unordinary, as it starts as an explosive (literally) investigation into a car bombing. It quickly becomes clear that the rather robust Hank Quinlan (Welles) is a culprit in the framing of a Mexican youth, and Mexican narcotics' agent Vargas (Heston) has to play a decadent game of cat and mouse in order to save his new wife Susan (Leigh) and entrap Quinlan. Every role in this film feels like a piece of a puzzle that fits together with glue like accuracy. Welles wore padding and prosthetics to play the bull-figure that he would ultimately become, and the transformation makes his gluttonous behavior seem less than coincidental with his end game. Heston, though out of his depth as a Mexican and miscast by a mile, does a convincing job of being the hero without reigning down moralistic virtues as he does in former films. Leigh is a little too agog at the world of crime for her performance to be anything but bothersome, yet she does stand up for her husband at every turn. There are many side performances that would make anyone squeal with glee, including Dennis Weaver ("Gunsmoke") as a hotel manager, Zsa Zsa Gabor as a strip club owner, and Marlene Dietrich as a gypsy madame who falls into sympathy for Quinlan, though strangely she isn't the only one who does so. Welles, as a visionary director, does some interesting things with a pulpy noir that make it resemble an art house thriller more than anything, and does so with little background noise to complicate things, something very few directors have been able to replicate.
Touch of Evil Quotes
|Ramon Miguel Vargas:||A policeman's job is only easy in a police state...|
|Tanya:||He was some kind of a man. What does it matter what you say about people?|
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