# 22

Impertinent and classy film noir.

One hell of a slick thriller by the standards of any decade. The larger-than-life villainous Welles is terrific (and Janet Leigh is a cutie), and the story moves along with a perfect and suspenseful pace, with murder giving way to police corruption giving way to murder again. And the cinematography is just masterful, especially the long takes. The only major flaw is (as all have said) the inherent absurdity of Mexican Heston.

My favorite Orson Welles role. Not far off in cinematography, either, and if it wasn't for the motel bits I'd add writing to the list. Just about the best you can ask from any movie.

My favorite Orson Welles film. The first thing that has to be noted is the cinematography; there's some real virtuoso camera work going on here, and it plays out wonderfully without consuming the film. The atmosphere is downright haunting. A lot of people complain about Heston playing a Mexican, but I didn't find it particularly distracting. He and Welles have great chemistry, and Marlene Dietrich and Akim Tamiroff have nice supporting roles.

Now this is Welles at his most refined - kicks Citizen Kane's ass if you ask me. Yes, the crude but likable Heston plays a Mexican with no attempt at an accent, but Marlene Dietrich's casting choice is even weirder. No matter, everyone works and Welles himself is great. It's a very idiosyncratic film noir, with a distinctive Wellesian flavor to it, very detailed, with a lot of interjecting dialog (which I love). A rich, intense viewing experience.

That the opening three minutes are the best bit in the film (and truly amazing) is no insult against the rest of it. Visually the film remains extremely bold right throughout and the music complements it excellently, and though some of the film's eccentricity doesn't work (particularly the nightman at the hotel who was annoying as all heck and almost seemed down right farcical) most of it is great including the excellent character Captain Quinlan played well by an almost unrecognisable Welles.

Welles at his most orotund as director, but not quite most rotund as actor. Rotund enough, though. As for orotund: the effect is made by wide-angle photography, sharply receding perspectives, and a tendency to keep the actors on the run, herding them directly toward or away from the camera. Because of all that, the movie appears to be taking place in some sort of wind tunnel, with the dialogue having to fight upwind to reach the audience and only doing so on a several-second delay.

Would have been amazing if the studios had obeyed Welles 50 page memorandum.

Reviewing the restored 111 minute version. The first thing that blew me away was absolutely amazing cinematography: great shots and long takes. Welles really steals the show. Heston is good as well but sadly doesn't feel like a Mexican at all but he still makes for a good "good guy." It's an amazing film and the opening shot down the street; my GOD it's brillant beyond words.

21

Good performances by the leads make this entertaining to watch. The almost two-hour runtime is a bit trying, though, especially factoring in the highly irritating soundtrack and the weak re-edit that left the film largely free of suspense.

Maybe my second favorite noir (only to The Third Man). Welles just can't not be brilliant

I found this Welles film to be slightly dissapointing.

As has been said, impressive cinematography and camerawork for the era. Heston's not very believable, but Welles brings a lot of dreary-eyed weariness, and also, malevolence to his crooked crack detective character. For every close-up of Welles, I couldn't look away from his crusty eyes.

A masterpiece - great dialogue, characters, pacing, cinematography - wonderful.

Touch of evil: 10 // 8 // 8 // 7 // 10 // 8 // 8