Retro Film Review: Touch of Evil (1958)

over 4 years ago (Edited)

(source: tmdb.org)

There are some great films that are considered to be great for the wrong reasons, not always having something to do with their quality. Touch of Evil, 1958 noir thriller directed by Orson Welles, is one of such examples. Its good reputation among film critics and aficionados comes from the background, not from the film itself. Simple fact that itwas directed by great Orson Welles is reason for respect. But the story behind cameras indicates "great" film. In the early stages of production Welles was originally hired only for the acting part. At the insistence of his colleague Charlton Heston, Universal agreed to allow Welles not only to direct, and he also re-wrote the original script by Paul Monash. The result was unusual film that didn't particularly impressed studio bosses, so they ordered Touch of Evil to be re-edited. Welles was unsatisfied with their decision and practically disowned the film, creating another myth about great masterpiece ruined by shortsighted, conservative studio establishment that didn't understand true Art.

The film was actually based on Badge of Evil, obscure pulp novel by Whit Masterson. Complicated plot takes place in Los Robles, seedy town on U.S./Mexican border. Ramon Miguel "Mike" Vargas (played by Heston) is top ranking Mexican anti-narcotics policeman who has just dealt spectacular blow to Grandis, powerful group of narcotic smugglers. Before he testifies, he plans to enjoy honeymoon with his beautiful American wife Susan (played by Janet Leigh). They are monitored by "Uncle Joe" Grandi (played by Akim Tamiroff) who wants to prevent Vargas' testimony by intimidating his wife. Their plans are affected by unrelated incident that happens on the border crossing – powerful local businessman from US side of the border and his girlfriend get killed by a car bomb. Vargas, who witnessed the incident, volunteers to help the investigation because he thinks that the bomb had been planted on Mexican soil. Investigation is led by Captain Hank Quinlan (played by Orson Welles), grotesquely obese policeman who became a local legend because of his law enforcement abilities. Quinlan doesn't need much time to find a suspect – young Mexican shoe store clerk Manelo Sanchez (played by Victor Millan) was employee of the deceased and had affair with the bosses' daughter. When Quinlan finds explosives in Sanchez' home, diligent Vargas can't fail noticing that the evidence got planted. When he confronts Quinlan about it and threatens with exposure, the old lawman decides to get rid of the overinquistive Mexican. He gets in touch with Grandi and two of them are plotting diabolical scheme to discredit Vargas through his wife.

Like many other cinema classics, Touch of Evil flopped during original theatrical run and was generally viewed as the failure. This opinion was shared by studio executives and critics alike. The latter considered Welles' work to be nothing more than B-film with A-actors shot in some unconventional techniques. On the surface, their arguments have some merit - story which is set in seedy border town drowned in prostitution and narco-trafficking and featuring lesbian biker (played by Mercedes McCambridge) as drug lord's henchman can easily be viewed as pure pulp. Welles also contributes to this impression by conveniently showin Janet Leigh in revealing clothes and putting her character through mock gang rape and similar ordeals suitable for damsels in pulpy B movies. Because of that, many contemporary critics failed to see that Touch of Evil also happens to deal with some serious issues like racism or endless conflict between police efficiency and civil rights. Perhaps that, more serious, dimension of this film got overlooked because Welles tried to break too many stereotypes. His idea to invert Hollywood cliches by confronting honest and civic minded Mexican lawman with his violent and corrupt American colleague might have looked appealing on paper, but with characterisation not sufficiently polished it made Touch of Evil almost too surreal.

However, main reason why people got attracted to this film lies in Welles' directorial mastery and less in its content. The most legendary thing about this film is an excellent opening - 3 minutes long and continuous crane shot that follows various characters and reveals many important details about them and town where plot takes place. This scene is awesome, especially considering how difficult it was to make it. Afterwards, only a handful of directors actually bothered to shoot such elaborate, encompassing scenes and the practice became fashionable only most recently. Unfortunately, the opening scene is the best and the rest of film can't surpass it. Welles used many interesting shots in order to make elaborate and memorable scenes, but none of them fulfils the promise of those three opening minutes.

The most valuable segment of the film is acting. Orson Welles the actor was as impressive as Orson Welles the director. Few characters in history of cinema were as well-written and superbly played as Captain Hank Quinlan. Welles first used everything in his power to make him as unappealing as possible - Welles, already a man with extra weight in real life, used padded clothes and low camera angles in order to make Quinlan obese to the point of caricature. But physical unattractiveness pales in comparison with Quinlan's cynicism, racism and immorality. Yet the audience slowly becomes to find sympathies to Quinlan, who is slowly but inevitably following the path of self destruction until melodramatic finale. Welles did truly splendid job, but his strong performance only underlined the weaknesses in the rest of casting. Studio-imposed decision to cast Charlton Heston as Mexican (spoofed in Tim Burton's 1994 Ed Wood) turned ruinous because of the bad make up. Same problems with make up turned another potentially strong performance - Akim Tamiroff's drug lord - into caricature. On the other hand, some supporting actors were more than up to the task – Joseph Calleia as Quinlan's faithful partner and friend; Marlene Diettrich as Quinlan's old flame and Dennis Weaver as neurotic motel clerk that predates Norman Bates in Psycho. Film also benefited from musical soundtrack by Henry Mancini, although some critics claim that the opening scene works better without music which interferes with genuine atmosphere of border town.

Touch of Evil is definitely not the best film by Orson Welles and it doesn't even belong among the best of the 1950s. But inferiority of this film is rather relative; even in underachievement Welles showed the truly magnificent scope of his talent and the excellent reputation of this film is, after all, well deserved.

RATING: 8/10 (+++)

(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on September 15th 2000)