This is a cool movie, though that lazy-ass "if you don't like X acclaimed film, then you're a braindead Michael Bay/Marvel loving simpleton" ad hominem should be fucking banned from commenting.
From it's first unparalleled shot to it's last lonely frame this was a masterwork. Every shot is so well composed and Welles created one of cinemas best villains.
For my money there is no version worth seeing other than the 1998 "memo" version. It's the closest we'll ever get to seeing a truly complete film. It's sad that this film was placed up there with films like Blade Runner and Metropolis that were almost ruined by studio interference.
The cinematography is brilliant -- every scene is perfect. The movie feels like a bad dream, where every character, location, camera angle and line of dialogue is crooked.
A brilliant piece of Noir filmmaking. There's a wonderful dark and cerebral quality to the film which makes it seem very otherworldly. Heston shines very well and Welles is at the top of his game. I think this film might have more interrupting dialogue than all other films I've watched combined (thanks to Orson's character) which made it a bit difficult to understand at times. Subtitles cleared the problem up nicely. I think it actually elevates the film because real dialogue is not without rude interruption and this film captured that.
"You know what a Mary Jane is?"
This whole film's greatness rests firmly on the shoulders of Welles. Although, the story isn't all that common, it's also not that interesting. Although, the acting is top notch all around, most characters outside of Hank Quinlan aren't that interesting. I'm still trying to understand why Marlene Dietrich is in this film.
However, all these flaws are washed by Welles directing. It's just outstanding. Even after 58 years, it still feels fresh. It's not something you see often. Every cinema lover should see this for this reason alone. 8/10.
Every shot is a wonder in Orson Welles' Touch of Evil, its film noir cinematography and inevitability supporting its theme of calumny (a character asks "what does it matter what we say about people", but it is the single most destructive thing someone can do in this film) and its oppressive claustrophobia pushing characters into the same frame just as Mexico and the U.S. are pushed together into frictive action in its border town setting. Everything pays off, from Grande's cigar suggestively sticking out toward Janet Leigh's face to the helpful reminder stuck on the hotel room door. Mexico is mostly shot at night, the U.S. mostly in the day (which only serves to expose corruption), creating the sense of two worlds. Welles is good, if shouty, as the corrupt detective, and Charlton Heston is fine though I always find it distracting when he gets to play a brown-skinned character, but it's Janet Leigh I want more of. She's really great in this, though doomed to go to the wrong motel and more or less get shuffled off screen (two years before Psycho, that is a very specific typecasting). Even so, it's the look of the film - not the actors, not the plot - that is the real star here.
The great Orson Welles gives us a GREAT example of The anti-hero in cinema. A story about corruption and human fall down , beautifully told by one of the fathers of the genre.
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demagogo
This is a cool movie, though that lazy-ass "if you don't like X acclaimed film, then you're a braindead Michael Bay/Marvel loving simpleton" ad hominem should be fucking banned from commenting.mi-16evil
From it's first unparalleled shot to it's last lonely frame this was a masterwork. Every shot is so well composed and Welles created one of cinemas best villains.For my money there is no version worth seeing other than the 1998 "memo" version. It's the closest we'll ever get to seeing a truly complete film. It's sad that this film was placed up there with films like Blade Runner and Metropolis that were almost ruined by studio interference.
hakonlo
The cinematography is brilliant -- every scene is perfect. The movie feels like a bad dream, where every character, location, camera angle and line of dialogue is crooked.K.
Janet Leigh should have learned her lesson with motels, but unfortunately she went to Bates.contrafugal
Charlton Heston in brownface.DisneyStitch
A brilliant piece of Noir filmmaking. There's a wonderful dark and cerebral quality to the film which makes it seem very otherworldly. Heston shines very well and Welles is at the top of his game. I think this film might have more interrupting dialogue than all other films I've watched combined (thanks to Orson's character) which made it a bit difficult to understand at times. Subtitles cleared the problem up nicely. I think it actually elevates the film because real dialogue is not without rude interruption and this film captured that.SkilledLunatic
"You know what a Mary Jane is?"This whole film's greatness rests firmly on the shoulders of Welles. Although, the story isn't all that common, it's also not that interesting. Although, the acting is top notch all around, most characters outside of Hank Quinlan aren't that interesting. I'm still trying to understand why Marlene Dietrich is in this film.
However, all these flaws are washed by Welles directing. It's just outstanding. Even after 58 years, it still feels fresh. It's not something you see often. Every cinema lover should see this for this reason alone. 8/10.
Siskoid
Every shot is a wonder in Orson Welles' Touch of Evil, its film noir cinematography and inevitability supporting its theme of calumny (a character asks "what does it matter what we say about people", but it is the single most destructive thing someone can do in this film) and its oppressive claustrophobia pushing characters into the same frame just as Mexico and the U.S. are pushed together into frictive action in its border town setting. Everything pays off, from Grande's cigar suggestively sticking out toward Janet Leigh's face to the helpful reminder stuck on the hotel room door. Mexico is mostly shot at night, the U.S. mostly in the day (which only serves to expose corruption), creating the sense of two worlds. Welles is good, if shouty, as the corrupt detective, and Charlton Heston is fine though I always find it distracting when he gets to play a brown-skinned character, but it's Janet Leigh I want more of. She's really great in this, though doomed to go to the wrong motel and more or less get shuffled off screen (two years before Psycho, that is a very specific typecasting). Even so, it's the look of the film - not the actors, not the plot - that is the real star here.fakirfikir
a must watch movie.fakirfikir
Tana: "what does it matter what you say about people ?"
wowwee123
http://www.veoh.com/watch/v1376086863PePwa8Checked 10/25/2019; 3/16/2020 - link still works (ignore (1) downvote)
Flops
Heston almost had me believing he was a Mexican by the end of this one. Good flick.radoslav1948
The great Orson Welles gives us a GREAT example of The anti-hero in cinema. A story about corruption and human fall down , beautifully told by one of the fathers of the genre.seithscott
Amazingly near perfect noir. I never saw the studio version but this re edit is just magnificent.UnEnfantPerdu
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