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
There has been much debate over the aspect ratio of the 1998 re-release. Apparently Orson Welles wanted to shoot the movie in flat widescreen (1.85:1), but Universal ordered him to film it in Academy ratio (1.37:1). When the film was restored, the production team offered to do the restorations in full screen, but Universal had them release it in widescreen, which the DVD is. However, TV viewings in 4:3 help viewers see the full framing that Welles clearly intended for the picture. See more »
The car that blows up four minutes into the film has the Texas plate AG 3724. 32 minutes into the film police car number 10 also has the Texas plate AG 3724. 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 »
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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