Touch of Evil

Crew and equipment reflected in the side of Vargas's car as he prepares to take his wife to the american motel.

At the end of the famous opening tracking shot, you can see the sky beginning to change to daylight but the rest of the shots in the sequence happen in the dead of night.

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.

As the couple is getting into the car at the beginning of the movie, there is exhaust coming from the tailpipe well before we hear the ignition noise.

At the beginning of the famous opening long shot, at the point where the bomb is planted in the trunk of the car, the reflection of a crew member is briefly seen in the upper left hand corner of the screen.

As the night-man leads Vargas to cabin seven, Vargas jumps from his right side to his left at a cut.

The degree of beard stubble on Quinlan's face changes from sequence to sequence within the same night.

At about the 50-minute mark, Vargas tells Quinlan that he knows the shoebox did not contain dynamite, and that ten minutes earlier he knocked it onto the bathroom floor and it was empty.

But ten minutes earlier the audience saw Vargas knock the box into the bathtub, not onto the floor.

I like Orson Welles' movies a lot. Touch of Evil for me is one of his best and one of the all-time great American masterworks.

I am not an Orson Welles fan but I decided to see it due to its high rating. I don't quite agree with others about the quality of movie.

I enjoy the old movies, especially from the 1940's until the late 1960's. Quite often I find the acting and stories great, and they more then make up for the few areas that are flawed (fake scenery, fake falls and deaths, etc, since technology was not around to make such things look real).

Touch of Evil is one of the last highly-regarded film noirs ever made, and perhaps the ultimate bent copper movie, and yet any discourse on it will general revolve around the fact that it was directed by Orson Welles. As Welles's approach generally pervaded over every aspect of his pictures, and his style bore only a loose relation to anything else going on in cinema at the time (facts not necessarily to the movie's credit, by the way) I am more or less compelled to do the same.

Touch of Evil is a head scratcher. On one hand, everyone is set in their role and push forth the objectivity of their character.

This collection of short clips, most not longer than a minute, includes many of the big names from the the lead categories of the 2011/2012-awards season including Academy Award winner for Best Actor in a Leading Role Jean Dujardin, but sadly not his female counter-part Meryl Streep, who'd have been interesting to watch as another personification of evil after her work in "The Devil Wears Prada", although some might argue that she just did in her portrayal of Maggie Thatcher that gave her a third Oscar.Everybody embodies a certain villain character.

IMDb Top 250: 125 Touch of Evil is one of the late film noirs: and it's a good one. By 1958, films could show more explicit content, and Touch of Evil benefits greatly from this.

During his honeymoon, Mexican police officer Mike Vargas (Charlton Heston) is dragged into a deadly battler with the respected-but- corrupted American Police Captain Hank Quinlan (Orson Welles). While protecting his wife, avoiding prejudice, and trying to uncover the truth, Vargas has more foes to deal with than he thinks.