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
While scouting the location, Orson Welles fell into a canal and suffered painful injuries that required the use of a sling and a cane while he was off camera. 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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Opening statement (restored version): In 1957, Orson Welles completed principal photography on TOUCH OF EVIL and edited the first cut. Upon screening the film, the Studio felt it could be improved, shot additional scenes and re-edited it. Welles viewed this new version and within hours wrote a passionate 58-page memo requesting editorial changes. This version represents an attempt to honor those requests and make TOUCH OF EVIL the film Orson Welles envisioned it to be. "... I close this memo with a very earnest plea that you consent to this brief visual pattern to which I gave so many long hard days of work." -- Orson Welles See more »
Orson Welles made this film over 15 years after "Citizen Kane", but even though it doesn't reach the level of "Kane", he never lost his genius touch. With a basic story and regular budget he made the most famous B-film ever. His majesty in the camera control and the editing jump out of the screen. His director geniality is seen through the outstanding performances by great actors like himself, Janet Leigh and Marlene Dietricht, and actors not that great, like Charlton Heston. Several lines of this motion picture are amongst the greatest of all times, specially the Dietrich ones. The credits scene, that runs uncut for about 3 minutes, is one of the greatest moments in the film history, along with the pianola tune at Tanya's place. Some might say that "Touch of Evil" is banal and boring, but these are the people that don't like real motion pictures, and we all know that, so we don't care about them.
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