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Touch
Of Evil (1958)
In Orson Welles' masterpiece (considered the last
classic film noir):
- the continuous-action, spectacular 3-minute and
30 second tracking and panning crane shot - an audacious, incredible,
breathtaking, uninterrupted shot following a convertible (after
a timed explosive dynamite device had been placed in its trunk
as it was parked), as it crossed the US/Mexico border at Los Robles
(Texas) in the film's credits/opening (appearing only in the 1958
version, not in the restored version); the convertible was drven
by wealthy local American businessman - Rudy Linnekar (Jeffrey
Green) and his blonde mistress-girlfriend Zita (Joi Lansing), a
striptease dancer
- the car's route was intertwined with views of a newly-married
couple: Mexico City narcotics investigator Ramon Miguel "Mike" Vargas
(Charlton Heston) and his blonde American bride Susan (Janet Leigh)
walking to the border crossing; as the inter-racial newlyweds kissed,
the sound of the sudden and violent explosion of the detonated car
overlapped on the soundtrack, and they turned their faces toward
the blast
- the first appearance (a low-angled shot) of a grotesque,
cigar-smoking, candy-chewing bloated local detective Hank Quinlan
(Orson Welles) as he rolled out of his car at the scene of the car
bombing
- the image of acid splashed on a peeling poster on
a crumbling wall of stripper performer Zita (an echo of her death
in the burning car explosion)
- the appearance of cigar-smoking Mexican gypsy and
brothel manager Tanya (Marlene Dietrich in a memorable cameo), the
femme fatale, who engaged in verbal foreplay with Quinlan: (To Quinlan: "I
didn't recognize you. You should lay off those candy bars....You're
a mess, honey")
- Susan's scenes of sexual terror - first in a dark
motel room in town by a peeping tom with a flashlight that shone
on her as she removed her cashmere sweater, and then in a deserted
and remote motel room on the outskirts of town where she was attacked
by thugs (members of the Grandi gang)
- the character of the weirdo, nervous and twitchy motel
manager/night watchman (Dennis Weaver)
- the scene of planted evidence in a bathroom (in the
film's second, long unedited scene)
- Quinlan's chilling strangulation-killing of Uncle
Joe Grandi (Akim Tamiroff) in a hotel room next to a semi-unconscious
Susan
- the gripping climax when Quinlan heard the echo
of his own voice as it was recorded on a transmitter held by Mike
under a bridge, and realized he had been taped and everything about
the frame-up had been revealed by his partner Sgt. Pete Menzes (Joseph
Calleia)
- the sequence of the death of Quinlan (shot by a dying
Menzes to protect Mike Vargas)
- the final image of Quinlan
lying dead and floating whale-like in dark and stagnant gutter-canal
water and garbage
- Tanya's epitaph for Quinlan in the film's final line: "He
was some kind of a man. What does it matter what you say about people?...Adios!"
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