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Created May 10, 2013 10:34PM PST • Edited Feb 22, 2015 12:33AM PST

1. Quality

2. Summary

   Very Good 3.5

   “Do you realize I haven’t kissed you in over an hour?” says Charlton Heston to Janet Leigh at the end of Touch of Evil’s famous opening scene, three and a half minutes of directorial perfection. One long tracking shot, it features close-ups leading to long shadows, followed by long shots of choreographed people and vehicles at the US-Mexico border. Legendary director Orson Welles had a touch of genius, that’s for sure.

   The rest of the movie disappoints in comparison, not that it’s not without a touch of intrigue, several even. Serious movie fans won’t be disappointed.

4. Acting

   Very Good 3.5

   Charlton Heston as a Mexican detective is famously dubious casting, though the great star doesn’t detract from the movie. Janet Leigh is a touch ridiculous as his American bride, though she’s way better than most cheesecake actresses.

   Orson Welles is appropriately fat and sweaty as a corrupt police detective.

   The legendary Marlene Dietrich dazzles as a Mexican madam. Almost 60 when the movie was made, she possesses a timeless beauty that’s never been matched. Her delivery? Deeply intriguing.

   As if Heston’s All-American Mexican wasn’t bad enough casting, Akim Tamiroff plays a Mexican boss. Never mind that he’s from the Republic of Georgia. Hollywood apparently preferred to look half way round the world than in its own backyard for plausible Mexicans in 1958.

   Dennis Weaver, later a big TV star, is also oddly cast as a really odd motel watchman.

   Finally, watch for Zsa Zsa Gabor as a prostitute in the brothel scene. Blink and you’ll miss her.

5. Male Stars Very Good 3.5

6. Female Stars Very Good 3.5

7. Female Costars Great 4.0

8. Male Costars Barely OK 2.0

10. Film

    Very Good 3.5

    How brilliant was Orson Welles? Start the list with the fact that he changed the story’s name from Badge of Evil to Touch of Evil — a deftly brilliant touch of titling.

    Then there’s the legendary and oft praised opening shot, the one with its homages cataloged in Wikipedia. How about the also brilliant closing scene, shot from on high, with Charlton Heston under a bridge while a criminal meeting goes on atop it. The angles and shadows Welles created there apotheosize film noir.

11. Direction Perfect 5.0

12. Play Barely OK 2.0

13. Music Very Good 3.5

    Henry Mancini’s music to the legendary opening scene can’t be topped.

14. Visuals Really Great 4.5
15. Content

16. Edge

    Risqué 2.0

17. Sex Titillating 1.7

18. Violence Fierce 2.1

19. Rudeness Salty 2.2

21. Reality

    Glib 1.4

22. Circumstantial Glib 1.7

23. Biological Glib 1.6

24. Physical Natural 1.0