‘A policeman’s job is only easy in a police state...’
I’ve never been a disciple of Citizen Kane. While I recognise that it looms large over all of modern-day cinema, the film itself didn’t connect with me on any kind of emotional level. That being said, its technical brilliance and the genius of director Orson Welles are beyond doubt. Within the first five minutes of Touch of Evil, it is clear that we are dealing with a master of the craft. This is one of the most beautiful-looking movies of the noir era with every shot and every scene containing something that catches the viewer’s eye. Welles shoots everything from a low angle making his cops and criminals look larger than life, like Gods. It is a sight to behold…
After an explosion on the U.S. – Mexico border leaves two people dead, uncompromising detective Hank Quinlan (Welles) rampages through Mexico like a hurricane trying to solve the case – by any means possible. Meanwhile, Mexican special prosecutor Miguel Vargas (Charlton Heston) also takes an interest, dragging his wife Susie (Janet Leigh) along for the ride.
Welles’ Quinlan is an astonishing creation. Spitting and spluttering his way through the film like a pitbull with a walking stick, Welles’ unscrupulous world-weary police captain has provided a template for countless pale imitations. Despite his ill health and ballooning weight, Welles provides a performance for the ages. Elsewhere, Heston, an actor I’ve never warmed to, is genuinely fantastic here. Utterly convincing. As cool as ice. The scenes that Welles and Heston share crackle and pop with an electric energy that made me long for the days when Hollywood would throw money at a complex and sophisticated thriller like this. Think L.A. Confidential but with more class.
1958 was a huge year for cinema with the release of Vertigo and Cat on a Hot Tin Roof alongside A Touch of Evil. Well, make no bones about it, the latter is better than Vertigo and it’s better than Citizen Kane. Along with The Third Man, this film must go down as one of the finest cinematic achievements of the era.