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Reviews Review
Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles' film noir masterpiece Touch of Evil was, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles' original vision was meticulously followed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles' directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles' control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberance of the dazzling directorial style. --Jeff Shannon
Synopsis
Orson Welles's TOUCH OF EVIL is nothing short of a masterpiece. Beginning with a three-minute-plus tracking crane shot, the film explodes onto the screen, literally--the marvelously expressive opening shot ends with a car blowing up, and that detonation sets into motion a classic noir tale of betrayal and murder. In a complex exploration of character and morality, Welles plays the racist Captain Hank Quinlan, a grotesque, troubled, and powerful figure who runs his small U.S. border town according to his own version of the law. Quinlan's brutishness and vulgarity contrast starkly with the idealism and playboy good looks of Charlton Heston as Mike Vargas, a Mexican detective trying to put away the leader of a dangerous family of drug dealers--the Grandis. In the U.S. with his new bride, Susie (Janet Leigh), Vargas becomes consumed with exposing Quinlan and his highly questionable methods--too busy to see that his own beautiful blonde bride is in serious danger from both Quinlan and the Grandis.
In 1998, Welles's film was restored closer to its creator's original vision, and it is a joy to behold. Every shot is impeccably crafted, every word of dialogue concise and pointed. The camerawork (by Russell Metty and John Russell) is stunning, particularly in the opening scene and the long single take in which Vargas believes he has caught Quinlan planting evidence. The supporting cast, led by Marlene Dietrich, Dennis Weaver, Akim Tamiroff, and Joseph Calleia, gives exhilarating performances. TOUCH OF EVIL, Welles's last studio film, is a near-perfect examination of the dark underbelly of society and the tragic downfall of a once proud man.
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Audience Rating
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Suitable for 12 years and over
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Manufacturer
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Universal Pictures UK
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Number of Items/Discs
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1
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Publisher
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Universal Pictures UK
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Release Date
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2003-11-10
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Running Time of DVD
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105
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Studio
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Universal Pictures UK
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Format
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Black & White : PAL
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Actors
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Charlton Heston : Orson Welles : Janet Leigh : Joseph Calleia : Akim Tamiroff
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Director
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Orson Welles
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Evil restored 
This restored version of "Touch of Evil" is well worth getting. It is an intriging film-noir that keeps you guessing as to whats going on.
Welles himself is made to look huge. He was already a bit overweight anyway, but the camera angles used and make-up only serve to emphasis his bulk. He plays Hank Quinlan a crooked plice chief. The other main characters are Charlton Heston as Vargas a Mexican Policeman and Janet Leigh is his wife Susan Vargas. Both are excellent. From the famous oprning tracking shot, which lasts over 3 minutes, through to the ending this is a dark tale of corruption and drugs. The story is set right on the border between the U.S and Mexico so you are continually unsure about jurisdiction. You will have to concentrate when watching this!
The extras are reasonable, and particularly interesting is the memo (58 pages!) from Welles explaining how the film should be re-edited. This version of the film attempts to restore the film to the vision of Welles memo. In terms of its length and the re-editing it undoubtably suceeds. However the original film was not widescreen and to make it so they must have topped and tailed it. Effectively this is the reverse of panning and scanning. So it still isn't a perfect version but its dam close!
He was some Kind Of A Man
Yeah I know others have used this line but it is so appropriate that you can not improve on it. How about "Your future is all used up." Narcotics, corrupt cops and a woman in the wrong place. My mistake was watching programs about the movie before watching the movie it's self. You do not need the physiological mumbo jumbo or artsy fartsy descriptions to understand this or enjoy watching this movie. This is one movie that you can feel and it even has several places where you can say "stay in the car." I had to watch this movie twice because the first time I closed my eyes during the motel confrontation.
After you watch the film then it is fun to go back and read all the odd things about it like, Janet Leigh broke her left arm before filming commenced, but appeared nonetheless.
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