'Touch of Evil' | Critics' Picks | The New York Times

A. O. Scott looks back at Orson Welles's thriller set on the border between Mexico and the United States.
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'Touch of Evil' | Critics' Picks | The New York Times
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[@paulsummers2640]

The opening sequence in this movie is pure genius.

[@bartonim]

It's amazing just how good this film is, despite the studio tampering. Welles had a life-long struggle with studio suits, didn't he? They just could not grasp his vision.

[@amphitheatre]

That line at 1:30 is why I think this is Heston's best. That one scene is what got me really into this film. It's actually touching and just one of many brilliant things about this film.

[@69Muscle]

This is absolutely one of the greatest movies ever made. A stunning achievement. This is as morally ambiguous as it noir delicious!

[@richardsiciliano7117]

This film signalled the beginning of the 60's vibe. Welles was simply ahead of almost all of us.

[@darkprose]

I was shocked by this movie when I first saw it (the restored version). I didn't know what to make of it. It felt like it was a prediction of the future of cinema.

[@Njbear7453]

Watching it a second time makes the lightbulb flash

[@johnminehan1148]

Playing a Mexican National without any accent in English is an interesting insight (Vargas is Harvard educated and very much an Hidalgo). On the other hand, having Vargas speak Spanish with the same flat, Midwestern accent is probably a sign Heston probably was not too good at accents.

[@OldEarthChaos]

"I'm supposed to do a thriller at Universal, but they want Charlton Heston to play a Mexican."

[@timmi59]

What does it matter what you say about people? One of my favorite lines....

[@robotpanda77]

Is that what passed for innuendo back then? "I'll come back and try some of your chili" "Be careful it may be too hot for you." lol

[@johnn.5033]

That makes me so happy! I used to think I was the only person whoever pronounced the name Leigh as "Lay". I eventually gave up after hearing so many people correct me, but even someone as prominent as A.O. Scott thinks it sounds silly to add the "igh" just to call someone Lee. Janet Leigh always reminded me of Donna Reed, and they both had similar careers but Janet was a few years younger so she was able to extend her career in film a little longer into the 1960's, plus Psycho is still so iconic. No offense to Miss Reed's Oscar win, but everybody remembers Deborah Kerr more from that movie than her. If it wasn't for "It's A Wonderful Life", I doubt anyone under the age of 60 would remember Donna Reed. I think her show ended by 1965. Coincidentally, in the "Bye Bye Birdie" film where Janet plays the Chita Rivera part (probably not a great casting choice), there is a woman who plays Ann Margret's mother that could literally be a dead ringer for Donna Reed. I'm sure they probably considered casting her, before going for the cheaper and less starry choice.

[@sclogse1]

I bet Welles would have wanted to film Nightmare Alley. Here, Welles completely disappears as Quinlan. He should gave been nominated for best actor. It really is his best work. Now, look at this around 2:22 and watch the way the actors move in the frame. And, the depth of field. All in focus, all in a perfect little ten second dance. This is where to learn from.

[@Ax18NY]

Great film. My favourite of his American pictures.

[@AndrewDrazdikJr]

Integrity, with the capture of reality. The chaos which we may all call community by our individual actions somehow in a harrmony. Whether Orson Welles planned the usage of the US-Mexican boarder with the plot, or that it naturally feeds the theme of how civil rights and integrity are common boarder of all people and cultures is a grand design of the action-drama. The same when blasting cap, fuse, or primer being touched with evil intent to produce special chaos called crime. Integrity ecohes.

[@MrHEC381991]

anyone know if that line about "oil pumping money" near the end was written by Orson or was it from the novel? brilliant film.

[@AndrewDrazdikJr]

Typecasting itself may be questionable, but being the director with Black and White cinema could be questioned as much as with Kurosawa of Japan and films such as Red Bread and Rashmon. Does the special effects and color take away from the audience sense of the sublime and intangible essence of what society takes for granted in everyday life. Which to the point of making crime movies to exhalt such issues of morals and ethics. Could have Heston been better seen in B&W in future themes of crime?

[@TheWaynos73]

Amazing film.

[@charliemctruth]

the cop loved him

[@Ballsarama]

This is fairly a good review. I have an issue of the "corpulent" line. Well, while being a big man, was not as large as indicated in the movie...he had a lot of padding.

[@Njbear7453]

Really? I thought he was a massive bear

[@Ballsarama]

@@Njbear7453 Negative. But he got larger later in the 60's.

[@frolilapume2263]

nice

[@bigstevesfriends]

Marlena Dietrich fantastic!!!!

[@Truthiness231]

OK, this review has sold me on this movie! Anyone know if this movie is public domain yet? Because I'd download it if it is ^.^

[@UltimateNinja-fe6yh]

Did u ever see it since youre post from 8yrs ago? If not netflix has it atm.

[@emilsuda4101]

Its A Universal Picture, under copyright

[@lindajohnson4204]

It's $3.99 everywhere!

[@lynnturman8157]

I actually prefer the version prior to Walter Murch's restoration. Murch, et al tinkered with it too much. And the scene at the beginning is much better with Mancini's score, which Murch's (Welles's?) version took out...

[@seanschoepper6464]

Lynn Turman actually it was Universal that tinkered with Welles’ version too much upon release in 1958, and this one is not Murch’s version, he simply edited the film according the famous 58 page memo Welles wrote to Universal upon seeing their cut of the film detailing everything he finds wrong with the cut. I respect your preference for the theatrical version, but to say that Murch “tinkered” with it too much is just wrong, the reconstructed version is by far the closest thing to Welles’ vision, which is ultimately what a film should be: the director’s vision, not the studio’s.

[@lynnturman8157]

Yeah, I get what you're saying. I guess "tinkered" was the wrong word because I realize that Murch was just following Welle's memo. Wasn't there three versions of this? The original theatrical version, a different version that came out on VHS & DVD in the 80s/90s, and the version that was faithful to Welles' memo. I'm just saying that I like the second version best, probably just because that's the version I saw first & had grown up watching..

[@matreyia]

@barrytron3030 sure all that stuff was great...I am just talking about the movie in terms of did it resonate or move me...and it didn't. The story was not engaging for me personally.

[@Xenu]

I really enjoy it when people have a conversation with themselves publicly and then expect someone else to have any idea what straw-man it is they're attacking. Talking to oneself is often considered a common sign of mental illness.

[@darkprose]

Talking to oneself is "a common sign of mental illness"? Please.

[@rerite2]

Heston as Vargas? Sorry, he was miscast. Better choice: Anthony Quinn.

[@lindajohnson4204]

By playing Moses (and resembling Billy Graham, being the same physical type), Charlton Heston had a acquired an image of upholder of righteousness. Anthony Quinn might have played the role, but would have lacked that. By the way, Quinn was great in another Biblical movie, _Barabbas,_ where all of the righteousness drawing him through life to his salvation, is not his own, but God's, who calls him. Barabbas knows himself to be a sinner, and it is his humiliation unto truth that is the drama of the character's growth. That's one weakness in this as a moral explanation of life: Vargas is completely wearing a white hat, liberalism-style. To do otherwise, probably would not contribute anything to the story being told, but Vargas is seemingly without faults or sins. That's a weakness of liberalism, and why they don't recognize a problem when they become the country club set. They just party on, and proclaim that the totally good guys are now in charge. Which is a sad day for the people who are most affected by the moral good they represent. But it does bring us closer to the truth, because then, the _other side_ of evil is shown for what it is, and self-righteousness is brought to the ground.

[@rerite2]

@@lindajohnson4204 -- Interesting. I appreciate your thoughts. It's a pleasure to read an intelligent analysis of the character. I'll re-watch the film with your thoughts in mind. Best, RG.

[@davidburgess3882]

@@lindajohnson4204 I think you'd find that the "country club set" is mostly conservative Republicans.

[@JR-hi9bu]

I hope you're sitting down as this may come as a shock, but nowadays Democrats make up.... a large proportion of the economic elite 😟

[@66smithra]

@@JR-hi9bu According to voter demographics, the more money you make, the more you vote republican. Just as it has been for quite a long time.

[@jamesholder13]

I watched this movie a few years ago and didn't like it. I just couldn't buy Heston as Vargas.

[@randywhite3947]

How do you feel 11 years later?

[@jamesholder13]

@@randywhite3947 I haven't watched Touch of Evil since.

[@sclogse1]

3:51. It's prophetic. Trump and Pence.

[@muslit]

One of Heston's best performances? That's not saying much. I didn't get past the make-up. Janet Leigh's performance is fleshy and real? She's fleshy alright, but she can't make real the horrible lines written for her, even if she were a decent actress. As far as Orson Welles' visual virtuosity is concerned, it's on display in almost every film he ever made. I just watched Touch of Evil the other day. It is the campiest noir ever made. I enjoyed it.

[@matreyia]

Ehh, this was just so so...

[@AlonsoRules]

The Third Man is a better film imo

[@randywhite3947]

Disagree

[@ezryder_]

In my opinion on of the most overrated classic Hollywood films ever