邪恶之触：奥逊·威尔斯的污秽杰作

IT IS a sign-off for the ages. “He was some kind of a man,” breathes Marlene Dietrich, with singsong sadness, at the close of Orson Welles’ scuzzball masterpiece, Touch Of Evil. Her Mexican madam, Tanya, has been pressed to offer a more expansive tribute to her ex-lover, corrupt detective Hank Quinlan, than that. As his corpse bobs in the dirty bay, she demurs. He was “a lousy cop”. “What does it matter what you say about people?” Dietrich wrote later. No one has ever spoken a line so well, nor performed better than during her one night of shooting, while Welles considered those sequences among the jewels of his career. …