| Photos (See all 27 | slideshow) | Videos (see all 2) |
| Charlton Heston | ... | Mike Vargas | |
| Janet Leigh | ... | Susan Vargas | |
| Orson Welles | ... | Police Captain Hank Quinlan | |
| Joseph Calleia | ... | Police Sergeant Pete Menzies | |
| Akim Tamiroff | ... | 'Uncle' Joe Grandi | |
| Joanna Moore | ... | Marcia Linnekar | |
| Ray Collins | ... | District Attorney Adair | |
| Dennis Weaver | ... | Mirador Motel Night Manager | |
| Valentin de Vargas | ... | Pancho (as Valentin De Vargas) | |
| Mort Mills | ... | Al Schwartz | |
| Victor Millan | ... | Manelo Sanchez | |
| Lalo Rios | ... | Risto | |
| Michael Sargent | ... | Pretty Boy | |
| Phil Harvey | ... | Blaine | |
| Joi Lansing | ... | Zita | |
| Harry Shannon | ... | Chief Gould | |
| Marlene Dietrich | ... | Tanya | |
| Zsa Zsa Gabor | ... | Strip-Club Owner | |
| rest of cast listed alphabetically: | |||
| Joe Basulto | ... | Young Delinquent (uncredited) | |
| Yolanda Bojorquez | ... | Bobbie (uncredited) | |
| Joseph Cotten | ... | Coroner (uncredited) | |
| Domenick Delgarde | ... | Lackey (uncredited) | |
| Jennie Dias | ... | Jackie (uncredited) | |
| John Dierkes | ... | Policeman (uncredited) | |
| Eleanor Dorado | ... | Lia (uncredited) | |
| Billy House | ... | Construction Site Foreman (uncredited) | |
| Mercedes McCambridge | ... | Gang Leader (uncredited) | |
| Arlene McQuade | ... | Ginnie (uncredited) | |
| Ken Miller | ... | Gang Member (uncredited) | |
| Ramón Rodríguez | ... | Gang Member (uncredited) | |
| Gus Schilling | ... | Eddie Farnham (uncredited) | |
| William Tannen | ... | Lawyer (uncredited) | |
| Wayne Taylor | ... | Gang Member (uncredited) | |
| Rusty Wescoatt | ... | Detective Casey (uncredited) | |
| Dan White | ... | Customs Officer (uncredited) | |
| Keenan Wynn | ... | Marcia Linnekar's Attorney (uncredited) | |
Directed by | |||
| Orson Welles | |||
Writing credits | ||
| Orson Welles | (screenplay) | |
| Whit Masterson | (based on the novel "Badge Of Evil" by) | |
| Franklin Coen | contributing writer: reshoots (uncredited) | |
| Paul Monash | additional scenes (uncredited) | |
Produced by | |||
| Albert Zugsmith | .... | producer | |
Original Music by | |||
| Henry Mancini | |||
Cinematography by | |||
| Russell Metty | (director of photography) | ||
Film Editing by | |||
| Walter Murch | (1998 re-edit) | ||
| Aaron Stell | (film editor) | ||
| Virgil W. Vogel | (film editor) (as Virgil Vogel) | ||
| Edward Curtiss | (uncredited) | ||
Art Direction by | |||
| Robert Clatworthy | |||
| Alexander Golitzen | |||
Set Decoration by | |||
| John P. Austin | (set decorations) | ||
| Russell A. Gausman | |||
Costume Design by | |||
| Bill Thomas | (gowns) | ||
Makeup Department | |||
| Bud Westmore | .... | makeup artist | |
| Merle Reeves | .... | hair stylist (uncredited) | |
| Vincent Romaine | .... | makeup artist (uncredited) | |
| Maurice Seiderman | .... | makeup artist (uncredited) | |
| Monty Westmore | .... | makeup artist (uncredited) | |
Production Management | |||
| Foster Thompson | .... | unit production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Phil Bowles | .... | assistant director | |
| Harry Keller | .... | director: reshoots (uncredited) | |
| Terence Nelson | .... | assistant director (uncredited) | |
Sound Department | |||
| Leslie I. Carey | .... | sound | |
| Frank H. Wilkinson | .... | sound (as Frank Wilkinson) | |
| Peter Berkos | .... | sound editor (uncredited) | |
| Robert L. Bratton | .... | sound editor (uncredited) | |
| Donald Cunliffe | .... | sound technician (uncredited) | |
| Ed Hall | .... | sound technician (uncredited) | |
| George Ohanian | .... | dialogue editor (uncredited) | |
| Walter White | .... | sound technician (uncredited) | |
Visual Effects by | |||
| Kevin Braun | .... | lead digital compositor (1998 restoration) | |
| Kevin Braun | .... | visual effects supervisor (1998 restoration) | |
| Sandy DellaMarie | .... | digital production coordinator (1998 restoration) | |
| Chris Flynn | .... | digital paint artist (1998 restoration) | |
| Mark Freund | .... | visual effects supervisor (1998 restoration) | |
| George Gervan | .... | digital paint artist (1998 restoration) | |
| Richard Gervan | .... | digital paint artist (1998 restoration) | |
| Maureen Healy | .... | digital paint artist (1998 restoration) | |
| Lynn Tigar | .... | digital paint artist (1998 restoration) | |
Stunts | |||
| David Sharpe | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Sherman Clark | .... | still photographer (uncredited) | |
| Ledge Haddow | .... | assistant camera (uncredited) | |
| James V. King | .... | camera operator: Venice canal locations (uncredited) | |
| Philip H. Lathrop | .... | camera operator (uncredited) | |
| John L. Russell | .... | camera operator (uncredited) | |
| Clifford Stine | .... | camera operator: additional photography (uncredited) | |
| Roy Vaughn | .... | assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| Claire Cramer | .... | wardrobe (uncredited) | |
| Nevada Penn | .... | wardrobe (uncredited) | |
Editorial Department | |||
| Eric Aijala | .... | negative restoration (1998 restoration) | |
| Sean Cullen | .... | assistant editor (1998 restoration) | |
| Bob O'Neil | .... | picture restoration (1998 restoration) | |
| Ernest J. Nims | .... | assistant editor (uncredited) | |
Music Department | |||
| Joseph Gershenson | .... | music supervisor | |
| Richard Nash | .... | musician: trombone (uncredited) | |
Other crew | |||
| Armondo Linus Acosta | .... | consultant (uncredited) | |
| Fred Banker | .... | unit publicist (uncredited) | |
| Charles Baqueta | .... | coordinator (uncredited) | |
| Wayne Fitzgerald | .... | title designer (uncredited) | |
| Betty A. Griffin | .... | script supervisor (uncredited) | |
| Robert Tafur | .... | dialogue coach (uncredited) | |
| Robert Tafur | .... | technical advisor (uncredited) | |
Thanks | |||
| James Naremore | .... | special thanks (1998 restoration) (as James Narmore) | |
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Considered by many to be the last "classic" noir film ever made, and perhaps the last masterwork from child prodigy Orson Welles, who looks about sixty in this film, despite his 42 years. In TOUCH OF EVIL the "noirish" dark streets and shadows are darker than ever, practically swallowing up the soft tones like a murky swamp. The action takes place in a nondescript U.S./Mexico border town where the worst that both sides has to offer is most in evidence. The famous opening scene (a 3 1/2-minute continuous shot) where we witness a time bomb being placed in the trunk of a Cadillac is masterful. The camera pulls in and out of the city scene as it follows the motion of the vehicle winding its way through streets littered with pedestrians, thus effectively creating a level of anxiety that could not be duplicated with multiple edits. After the inevitable explosion, the drama dives into a seedy world of corrupt police justice and malevolent decrepitude, which is filmed with such a stylish flair, it is almost weirdly humorous and playful! Mike Vargas, the good guy, is played by Charlton Heston and seems more than a wee bit miscast as a Mexican narcotics officer with his face darkened by makeup. When U.S. Police Captain Hank Quinlan (Orson Welles) first meets him he remarks, "He doesn't look Mexican." Quinlan is the ultimate repugnant cop gone bad and Welles has the camera looking up into his nostrils most of the time making his character look even more monstrous. But Quinlan is also pitifully sad. A man who once had the instincts of a cat and the intelligence of a fox has been reduced to an insignificant mass of tissue, who's "instinct" is having a knack for finding evidence that he himself has planted. And while he may be revered by the local officials in law enforcement, he's acutely aware that he is a fraud and petrified that Vargas, has seen him naked.