|
Genres, Themes, Actors, and Directors:
- Akim Tamiroff Films
- Charlton Heston Films
- Corruption
- Detectives and Private Eyes
- Falsely Accused
- Framed
- Janet Leigh Films
- Joseph Cotten Films
- Marlene Dietrich Films
- Mercedes McCambridge Films
- Mexico
- Newlyweds
- Orson Welles Films
Response to Peary’s Review:
Peary writes that “producer Albert Zugsmith gave Orson Welles his long-awaited chance to again direct a Hollywood film” in this very loose adaptation (by Welles) of “Whit Masterson’s novel Badge of Evil.” He notes that “Welles the writer turned out the sleaziest story imaginable — with seedy characters and locations, drugs, sex, corruption, murder, racism, etc.” while “Welles the director shot it like an artist, employing some of the most audacious visual strokes of his career” — resulting in “a masterpiece.” He points out that “Welles’s Detective Hank Quinlan is one of his most interesting, complex characters”: a “great detective but he thinks himself above the law,” and while he’s “always correct when he accuses someone of a crime,” he nonetheless “always plants incriminating evidence” to “assure convictions.”
Peary writes that “Welles’s characters are potentially great men but none of them act nobly on their way to the thrones of their particular worlds” — which is why “Calleia, who loves Welles’s Quinlan, is so disappointed: real heroes must have pure pasts.”
Peary notes that “Leigh was never sexier — Welles was the rare director to emphasize her large chest”:
… and “Dietrich (as the only person who understands Welles) has a memorable cameo.”
In the years since Peary’s GFTFF was published, this classic has undergone an infamous revision based on Welles’s 58-page memo written to the studio, which (typical for Welles) messed substantially with his original vision. The “1998 version” is the one I watched for this review (and saw in theaters back in ’98), but the DVD provides ample evidence and discussion of the differences, for those who are interested. Regardless of which version you see, it remains powerful and provocative viewing, clearly demonstrating Welles’ cinematic gifts. With that said, I do have a few quibbles: I’m not a fan of Tamiroff’s intermittently comedic characterization as “Uncle” Joe Grandi:
… or Dennis Weaver’s performance as a loony motel manager:
… and I find it hard to believe that Leigh’s character would go off with a stranger in a border town at night, then get pissy when confronted by the head of a notorious criminal family.
(I know she’s meant to be a “tough cookie” but she simply comes across like a foolhardy rube.) However, Heston acquits himself nicely (despite not attempting a Spanish accent):
… and Welles and Calleia have authentic chemistry together. Watch for tiny cameos by Big Names, including not just Dietrich but Joseph Cotten, Zsa Zsa Gabor, and Mercedes McCambridge (!).
Redeeming Qualities and Moments:
- Orson Welles as Harry Quinlan
- Joseph Calleia as Sergeant Menzies
- Fun cameos in the supporting cast
- The still-impressive 3 1/2 minute opening tracking shot
- Russell Metty’s cinematography
- The excitingly shot finale sequence
Must See?
Yes, as a still-powerful classic by a master director.
Categories
- Genuine Classic
- Important Director
(Listed in 1001 Movies You Must See Before You Die)
Links:
|
