In our array of must-see noir, another movie that makes the cut is ‘A Touch of Evil’. In case some of you are wondering why most of my movie reviews are always positive, it is by design. While the opinions expressed here are my own, I do my research and check out movies that have critical acclaim, then watch and review them. Life is too short to waste on bad movies or books.

When one thinks of directors way ahead of their time, one name that always comes up is Orson Welles. In ‘A Touch of Evil’, we get a taste of why this is true. ‘Touch of Evil’ has many noir elements but has some interesting differences. There is no Femme Fatale. This is not a pessimistic movie but flows like an action-adventure.

Probably the forerunner of many modern-day action plots, the story moves forward at a great pace and there is no looking back. Unlike many noirs, there are no flashbacks. The noir factor is expressed more with darkness and the demoniacal character of the villain. The movie pits two giants on screen, both in size and screen presence. Charlton Heston plays Miguel Vargas, the fearless Mexican prosecutor matching wits against police captain, Hank Quinlan, a monster of a man in size and temperament. Welles plays Quinlan, one of the most fearsome villains, with almost no redeeming qualities, to occupy the screen. The movie is based on the novel ‘Badge of Evil’ by Whit Masterson.

The story of the making of the movie is also interesting. During pre-production of the movie in 1958, creative differences between Welles and Universal resulted in Welles being removed from the decision-making process. The film was initially panned by critics but received accolades at the Brussels Film Festival. Welles had written a memo outlining his opinion on how the film ought to be edited. In 1998, the film was re-released incorporating the edits that Welles outlined.

The movie’s beginning would have made Hitchcock proud. It begins in Mexico, where a car is booby-trapped with a bomb. Soon, an older man and his younger woman get into this car and ride across the border. The car goes down a bustling street. Also on this street are a tall man and a woman, both in high spirits. The tall man is revealed to be Miguel Vargas who is celebrating his honeymoon on the American side of the border with his new wife, Susie (Janet Leigh). Miguel is a well-known prosecutor in his country and is famous for his crusade against the drug trade.

As is inevitable, the car explodes, prompting pandemonium. Susie is separated from Vargas and finds herself accosted by a Mexican youth. The man hands her a note that says she should follow him, the young man who will lead her to Vargas. As she follows the man, she is led to a store where she comes face to face with Joe Grandi, a crime boss. Grandi tries to intimidate Susie by telling her that there will be disastrous consequences if Miguel continues to prosecute his brother in Mexico.

Feisty Susie is not one to be scared and walks away from him. She manages to find Miguel. Soon, the police arrive at the scene. Police Captain Quinlan and his partner, Pete Menzies, also arrive to examine the scene of the crime. The victims of the accident are revealed to be Rudy Linnekar, a businessman, and his stripper girlfriend, Zita. Vargas offers his assistance in the case to Quinlan, only to be rudely shut down by the big obese man. However, Menzies and the DA, who also arrive on the scene, accept Vargas’s offer to help.

Vargas has Susie sent to a hotel so that he can focus on the case while Susie can get some rest. Little does he know that Grandi owns the hotel and will have his cronies there to terrorize her. In the meantime, Vargas accompanies the investigative team as Quinlan implicates the husband of the dead Linnekar’s daughter. Vargas soon realizes that Quinlan has planted evidence to implicate the innocent young man.

This prompts a showdown between the two tough guys, Quinlan and Vargas. Vargas confronts Quinlan and accuses him of planting evidence. Quinlan is stressed by the confrontation that he falls off the wagon after many years and starts drinking again.

Grandi sees an opportunity here and tries to forge an unholy alliance with Quinlan. As Vargas is a common enemy, Grandi tells Quinlan that they could team up and hurt Vargas and his reputation. He outlines his vicious plan and Quinlan seems to go along with it. Little does he know that Quinlan has his own agenda, far more sinister than Grandi can imagine.

The rest of the movie is about how Quinlan tries to destroy Vargas and his reputation by using Susie. Vargas is a rough and tough guy who is not going to let anyone get away with hurting his wife or her reputation and fights back. How can Vargas fight against a decorated cop in his own backyard?

For a movie like this to work, one needs a tough hero and an equally formidable villain. This movie delivers in both departments. The supporting cast also helps enhance the plot, as does superb cinematography and screenplay. ‘Touch of Evil’ is an essential must-see for all fans of noir.

Cast: Charlton Heston, Janet Leigh, Orson Welles, Joseph Calleia

Direction, Screenplay: Orson Welles

Update : This is by far, my most popular post and for good reason. I want to pay tribute not only to Orson Welles, Charleton Heston, Leigh and everyone who made it happen but also give credit to two legendary film reviews who drew attention to this movie’s re-edited version. Here is a link to Siskel and Ebert’s review/homage to this masterpiece.