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
Orson Welles wanted the credits to appear at the end of the film so as not to distract the audience from the long (and famous) initial tracking shot. He finally got his wish with the 1998 alternate version, dubbed "the directors's cut". However, as initially released theatrically in 1958, the credits appeared at the beginning of the film, superimposed over the now famous opening sequence. See more »
In every scene in which a player piano is operating, the action of piano keys never matches the music that is heard. See more »
In the 111-minute restored version, there are no credits at all until the end of the film. See more »
The 1998 restoration is often called the "Director's Cut," which it is not. Welles original cut was done immediately after filming was completed. This cut no longer exists. Universal then cut the film and when shown THIS version, Welles composed his 57-page memo. So the 98 cut was restored to Orson's intentions, but there is no way of knowning if this would have been his Director's cut. Also, see aspect ratio argument in Trivia section. 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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