A Touch of Evil Starring: Charlton Heston, Janet Leigh, Orson Welles, Akim Tamaroff Director: Orson Welles The film: He had a certain way about him, did Orson Welles. He could reinvent cinema seemingly at will. And after the fanfare that surrounded the likes of Citizen Kane (1941) and The Third Man (1949) he set his sights on film noir - and the genre would never feel the same again. Touch of Evil is as seedy and ambiguous as cinema gets. That it came to light 50 years ago makes it all the more astonishing. Welles sets the action in a Mexican border town (Los Angeles' Venice Beach was where most of it was actually shot) - and it pulses with racial and sexual tension. Charlton Heston plays a Mexican-born American cop investigating a murder which leads him into direct contact with corrupt local police chief Hank Quinlan (Welles) and all manner of sleazy goings-on. The studio version is more in your face, with a wild jazz soundtrack that heightens the sense of the bizarre. Welles' own wish was for more silence - and in that version (also included here) the tension virtually drips from the sets. Welles (above left with Heston, far right) conjures a world gone utterly bad. Janet Leigh, as the policeman's unblushing bride, seems at once repulsed by it all, and a little too knowing about how the games are played. Marlene Dietrich is given some of cinema's most wonderful lines as the woman who just can't seem to get over Quinlan. As for Welles, his is a tour de force. The very embodiment of corruption, it seems to ooze from his every pore. And when behind the camera he sets standards that have rarely, if ever, been matched. The opening scene has passed into cinematic folklore - as Welles tracks the action with the use of a crane, and one single take. It is, like much of the film, breathtaking. The extras: A fitting package to celebrate the film's 50th anniversary features four commentaries - and the film's four versions. The two stars get together with Rick Schmidlin, the man who restored the print according to Welles' original wishes, while he goes it alone as well. The short documentaries cut to the chase with the stars and some latter-day directors offering memories of the shoot, and of the film's impact on it's release. You also get a look at Welles' memo explaining what he wanted done with the film - before the studio had their way with it.