Dec 02, 2005 02:34 AM
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(Updated Dec 02, 2005 02:34 AM)
Exponential Noir is ''Touch of Evil'', written and directed by Orson Welles in 1958, based on the novel ''Badge of Evil'' by Whit Masterson, and it is a dark and gothic journey through a police investigation in a Mexican border town.
Starring Charlton Heston as Mike Vargas, and Janet Leigh as his new wife Susan Vargas and Orson Welles as Hank Quinlan, (a police detective with a record and reputation for results), the story is one of the purity of spirit triumphing against the misguided and corrupt intentions of those in power.
A millionaire is blown up in his car with his girl friend in a Mexican border town and narcotic investigator Mike Vargas (Charlton Heston) and new wife Susan (Janet Leigh) are present. Vargas naturally feels obligated by duty to stay with the investigation, being Mexican himself, but Quinlan doesn't like him involved in the case, and to add to the problems Joe Grandi (Akim Tamiroff) has a scheme in place to discredit Vargas so that his testimony at an upcoming drug trial will not damage his illegal drug sales in the town.
During the course of the investigation Quinlan goes about his usual method of getting a conviction, by using underhanded means. When Vargas discovers that Quinlan is framing the current detainee, and finds further evidence that his past convictions may have been by way of planted evidence, he goes about building a case against Quinlan, eventually eroding the detective's support of loyal followers.
Welles' genius is creating a Noir world filled not only with shadows, and shadowy characters, but to also an atmosphere where individual ethics transcend easy judgment of right and wrong.
Hank Qunilan is corrupt, but during the course of the film we discover that the only case he was never able to solve was the murder of his own wife, and since that time he slowly built a reputation for solving cases. We can almost see how this may reflect on our own lives, and makes us further question what our own actions may be in a similar situation.
Joe Grandi, is the leader of the drug ring, and the one attempting to discredit Mike Vargas by kidnapping Susan and implicating her as a drug addict. He scoffs at the suggestion that any of his family or his associates are drug users- that's a badge of business and personal ethics that he lives by.
One of the last films that Welles made, ''Touch of Evil'' was shot in Venice California with little budget. His past commercial 'failures', a dropping off since ''Citizen Kane'' and his reputation for being ''difficult'', made him a bad risk.
It's been said that sometimes the best things come about when one is presented with impossible condition and obstacles.
It's performance bravura for Orson Welles and Charlton Heston. It's the pure-heart, stoic do-gooder Mike Vargas's milquetoast relationship with Susan that we must root for, for no other reason but that they are the innocents in the film- their unison is hope for the future.
What's really great about this film is Welles' wonderful acting and his excellent directing of other actors and the making of the film- what a picture he paints for us!
This excellent re-cut and re-mastered film on DVD contains a widescreen version of the film, and wonderful background that will whet the appetite of the cinephile everywhere:
Welles' Memo- a 58-page letter to Ed Muhl, head of the studio, articulating improvements that could be made to the film by following Welles' editing instructions.
Theatrical Trailer
Production Notes- clarifying the procedures at arriving at this current version of the film.
Cast and Filmmakers- historical background on the cast.
Recommendations (ads for other Universal films)
Welles' 'Memo' is notes from Welles to Ed Muhl after he viewed the re-cut Universal version including a new closing which was directed by Harry Keeler. Welles makes note that his 'roving' camera in the beginning was to introduce a succession of musical numbers, and further elucidates his rationale for the initial editing of ''Touch of Evil.''
The 'Production Notes' section is how the film was re-cut and re-edited. Allowing the viewer to see ''deeper into the film'', in 1992 producer Rick Schmidlin and editor Walter Murch re-cut the film to Welles specifications outlined in his 'Memo' to Ed Muhl.
The result is a wonderful widescreen re-mastered edition without the onscreen credits. This DVD sports the version of the film that affirms the genius of Orson Welles.
Favorite lines:
Marlene Dietrich: ''Your future's all used up.'' There are many other excellent moments is this film and this newly mastered DVD is a must-have for any Noir aficionado. The best price I found is $7.95 dollars at Half.com.
