When people ask my favorite Orson Welles picture, I give them a complicated answer. I respect “Citizen Kane” as one of the greatest (and perhaps most important) triumphs in the history of cinema. It’s at or near the top of any critic’s picks for the best pictures ever made. But my favorite? The one I’d prefer to sit down and watch on a cold winter afternoon? That’s “Touch of Evil” – the 1958 mystery / thriller that served as one of the last true examples of the original black-and-white film noir era (roughly the 1940s and ‘50s).
Touch of Evil
Touch of Evil
Touch of Evil
When people ask my favorite Orson Welles picture, I give them a complicated answer. I respect “Citizen Kane” as one of the greatest (and perhaps most important) triumphs in the history of cinema. It’s at or near the top of any critic’s picks for the best pictures ever made. But my favorite? The one I’d prefer to sit down and watch on a cold winter afternoon? That’s “Touch of Evil” – the 1958 mystery / thriller that served as one of the last true examples of the original black-and-white film noir era (roughly the 1940s and ‘50s).