どんな作品か
Touch of Evil pushes film noir toward feverish visual excess. Its opening tracking shot binds a car bomb, a crowded border, and several crossing lives into one expanding field of suspense. Orson Welles’s corrupt detective Hank Quinlan fills rooms with physical and moral pressure, while deep focus, wide lenses, abrupt angles, and layered sound make the town feel contaminated by investigation itself. The film’s racial casting and sexual threat are troubling, but its critique of manufactured evidence and lawless policing remains sharp. The reconstructed version reveals the density of Welles’s design more fully than the shorter theatrical cut.
無理なく楽しむために
Use the 1998 reconstructed version if possible. Depending on the edition, it may be listed around 110–111 minutes. The plot contains many secondary figures, so anchor yourself in Vargas’s investigation of Quinlan and Susan Vargas’s increasingly dangerous isolation. Do not worry if the border geography feels unstable; Welles uses disorientation deliberately, though some stereotypes belong to the period rather than the critique.
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The opening shot is admired for not cutting, but its real force is divided attention: celebration, traffic, danger, and intimacy occupy the same moving space. Welles makes corruption feel similar—never isolated, always leaking into the next room and the next story.
— Momo
クレジットと版
- 出演
- Charlton Heston — Ramon Miguel Vargas · Janet Leigh — Susan Vargas · Orson Welles — Hank Quinlan · Marlene Dietrich — Tanya
- 脚本
- Orson Welles
- 製作
- Albert Zugsmith · Universal-International Pictures Co., Inc.
原作
版の見取り図
観る・読むための案内
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|---|---|
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| Read | Search books on Bookshop.org |
U.S. search destinations · Links checked 2026-07-27 · Stock, editions, prices, and availability can change · Disclosure
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