A hoodlum shows a stick of dynamite to the camera and then places it in the trunk of a car and we follow it in an incredible tracking shot as a tycoon and his mistress get it in, cross the Mexican border to America, and are blown to bits. An investigation ensues led by rotund, corrupt, and highly reputable Captain Quinlan given a hand by Mexican police officer Vargas who is on his honeymoon with his young bride. As the investigation takes its course, Vargas realizes that Quinlan is planting evidence and the odious captain wants the impinging foreigner out of his hair. "Touch of Evil" is the brilliant and impeccably composed work of Orson Welles who wrote, directed, and starred in this border tale of police malfeasance. Starring as Captain Quinlan, Welles dives head on into the despicable and remorseless character, crafting a frightening presence. Charlton Heston, though oddly cast as a Mexican, is nonetheless powerful as the righteous lawman. Janet Leigh is fine as well as his bride and pawn in Welles's sick game. The shadows and angles of the camera are remarkable here and, along with the devilish turns, have the capacity to take your breath away. "Touch of Evil" is an uncommonly good film and one that engages you in a way that few films do.

Paul Newman was always regarded as a fine actor, but many believed he truly blossomed in his later years. His performance in Richard Brook's Cat on a Hot Tin Roof from 1958 as Brick Pollitt would serve as a counterpoint to this argument. In this adaptation of Tennessee Williams' controversial play, Newman brings all the ferocity and nuance necessary to play the role of the troubled young man. In the film, Brick's wife Maggie (Elizabeth Taylor) is desperate for a baby, by Brick is too depressed with the loss of his football career as well as the death of his friend to sleep with her. Meanwhile the rest of the family has heard that Big Daddy is sick and is after his millions. Big Daddy, wonderfully played by Burl Ives, is no dummy and wants to give his fortune to Brick, but won't entrust it to an impotent alcoholic. What ensues is wonderful southern dialogue in what is mostly argument. Brooks does his best to bring the controversy to the screen, even though it is subdued. The result is a fine screen adaptation showcasing some of the finest actors of its era.
***1/2

I was a few minutes late into see Gigi and for a few seconds I thought I was in the wrong theater. That's how great the Technicolor looks in this Best Picture winner from 1958. Also winning eight other Academy Awards in a sweep, including Vincente Minnelli's only Best Director Award. Filmed on location in Paris, Gigi is a Lerner and Lowe musical that bears a striking resemblance to their other smash hit My Fair Lady. In this film around the turn of the 20th Century, a young girl is groomed to be a courtesan while her friend, a young man of the aristocracy becomes bored with his affluent life. Of course the two fall for each other, but not until after several missteps. Narrating this tale is the young man's uncle, played by Maurice Chevalier who won an Honorary Oscar that year as well. Though Gigi does have some tremendous elements, such as the aforementioned glorious technicolor and on location Paris flavor, elements of the story feel stale and the music is all but forgettable. Gigi would have to be placed in the category of noteworthy yet slight or forgotten Best Picture winners.
***