Review of Touch of Evil (1958) by Filmgrinder S — 18 Sep 2011

Orson Welles' "Touch of Evil" was supposed to be his comeback project in Hollywood, the film that proved he can do something under budget and on time (he delivered as promised). When the Universal Studios people saw the finished product--a bizarre film about racism and police corruption, with references to drugs and various kinds of sexual perversions--they freaked; they had the film recut and reshot, then open with no publicity as double bill to another Universal quickie. Welles, needless to say, never worked in Hollywood again.

The opening shot--a three minute plus stunner involving a car, a bomb, a man's fleet shadow, and two lovers out on foot on their honeymoon--is about as perfect an introduction as any for unsuspecting newcomer to the inimitable world of Welles. The scenes of Janet Leigh--at a deserted motel with a crazed night clerk--has a brightly-lit menace that Hitchcock would appropriate for "Psycho.".

Welles himself gives a great performance (second only to his Falstaff in "Chimes of Midnight") as Hank Quinlan, the corrupt police officer. He dominates every scene with his huge voice and huger presence; his acting is endlessly inventive--in one scene where Vargas (Charlton Heston) accuses him of falsifying evidence, Quinlan picks up a pigeon's egg (the very image of innocence). When Vargas mentions an important bit of information, Quinlan's hand convulses (in panic?) over the egg; he's left with a hand dripping with yolk, looking around for a rag to wipe it with--and then Vargas hands him a handkerchief, perfect visual metaphor for their respective roles (the corrupt and his cleanser). In a crucial earlier scene, Quinlan is in a bar, responding to Grandi's propositions to destroy Vargas and join him in a drink with a weak "I don't drink"--only he never finishes his protest; he notices the shotglass in his hand, half-drained of whiskey. Grandi (Akim Tamiroff) leans close and with what may well be the oiliest smirk in the world orders two more glasses, double this time. Welles cuts to a high overhead shot of Quinlan, small and helpless in his corner as Grandi fetches the drinks.

"Touch of Evil" was a commercial and critical failure when it came out in 1958; its reputation has grown. Today it's considered one of the greatest noir films ever made, possibly the greatest film Universal Studios has ever made. Not bad for a quickie B feature.