A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
Mexican Narcotics officer Ramon Miguel 'Mike' Vargas has to interrupt his honeymoon on the Mexican-US border when an American building contractor is killed after someone places a bomb in his car. He's killed on the US side of the border but it's clear that the bomb was planted on the Mexican side. As a result, Vargas delays his return to Mexico City where he has been mounting a case against the Grandi family crime and narcotics syndicate. Police Captain Hank Quinlan is in charge on the US side and he soon has a suspect, a Mexican named Manolo Sanchez. Vargas is soon onto Quinlan and his Sergeant, Pete Menzies, when he catches them planting evidence to convict Sanchez. With his new American wife, Susie, safely tucked away in a hotel on the US side of the border - or so he thinks - he starts to review Quinlan's earlier cases. While concentrating on the corrupt policeman however, the Grandis have their own plans for Vargas and they start with his wife Susie. Written by
The opening scene took an entire night to get right, mainly because the actor playing the customs officer kept blowing his lines. It was beginning to get light on the horizon when Orson Welles made the final take of the night, saying to the cast, "All right, let's try it one more time." Then he looked at the actor and said, "If you forget your line this time, just move your lips and we'll dub it in later, but please God do NOT say, 'I'm sorry, Mr. Welles!'" This is the take seen in the film. See more »
As the night-man leads Vargas to cabin seven, Vargas jumps from his right side to his left at a cut. See more »
Uh, you folks American citizens?
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In the 111-minute restored version, there are no credits at all until the end of the film. See more »
Touch of Evil has, perhaps, the BEST cinematography and lighting in ANY film ever made. Not just in the film noir genre, but in all categories. Orson Welles tended to use wide shots for all of his films, and Touch of Evil's use of wide shots took filmmaking to another level, especially with the amazing opening shot. The camera techniques and lighting are too spectacular to fathom, it is the grandmaster of all movies. Brilliant is an understatement. See this film, if not for the excellent acting and sheer brilliance in terms of the camera (this film had a GREAT D.P.!!), but for entertainment value. But if you are a film student or just want to see great camera work, Touch of Evil will astonish you.
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