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Adam R.

I love that Dietrich quote, but you left out the best part: "He was some kind of a man. What does it matter what you say about people?"

It's such an intriguing line, and an unexpected way to end the movie. At the same time she's saying Quinlan was a great man, but it doesn't matter because he's dead, and also that no matter what anyone says about Quinlan to her -- it won't change her mind about the man he once was. It's also almost an all-encompassing comment about the whole movie, because so much time is spent talking about Quinlan, whether it be praise or condemnation. In the end, none of it matters.


Yes, I love the entire quote too. I used the top of it, however to simply explain Welles himself as some kind of man. Luckily, Welles' movie did matter in the end. I hope so anyway.

But yet. And now you've given me another idea--ten greatest last lines.

Another list!

Thanks Adam.


I first fell in love with Janet Leigh when I saw her in "The Perfect Furlow," a 1958 Blake Edwards sex comedy also starring Tony Curtis, Elaine Strich and Keenan Wynn. She was so beautiful. Jamie Lee has amazing genes.

Jaime Weinman

I've never quite agreed with the idea that Touch of Evil works better in the re-cut. Remember, this isn't just a Welles movie; it also is drenched in the personality of its producer, Albert Zugsmith -- producer of Douglas Sirk's two best movies (Written On the Wind and The Tarnished Angels) and who later left Universal to specialize in exploitation flicks like High School Confidential.

The original cut of Touch of Evil is a combination of two sensibilities: Welles's dark, moody sensibility and Zugsmith's exploitation and shock value. The recut, by deferring exclusively to Welles's memo, loses some of the Zugsmith touches that make the film what it is; it may be more of a pure Welles film, but a movie with a strong producer like Zugsmith couldn't really be a pure Welles film anyway.

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