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Changed line(s) 19 (click to see context) from:
* TheCameo: Welles's old friend and former co-star Creator/JosephCotten makes a brief appearance at the bombing crime scene, as the coroner. ("Now you could strain him through a sieve.")
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* TheCameo: Welles's old friend and former co-star Creator/JosephCotten makes a brief appearance at the bombing crime scene, scene as the coroner. coroner ("Now you could strain him through a sieve.")"), as well as later on after Susie [[spoiler: gets arrested]].
Changed line(s) 48 (click to see context) from:
* IronicEcho: "That's the second bullet I took for you, partner..."
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* IronicEcho: "That's "Pete... that's the second bullet I took stopped for you, partner...you..."
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* MadeOfPlasticine: "Once he ran this town. Now you could strain him through a sieve."
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* MadeOfPlasticine: "Once he ran "An hour ago Rudy Linnekar had this town. Now town in his pocket." "Now you could strain him through a sieve."
Changed line(s) 53 (click to see context) from:
* NeverBareheaded: Quinlan's hat never comes off, not even [[spoiler: as he falls dead into the murky waters of the stagnant river.]]
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* NeverBareheaded: Quinlan's hat never comes off, not even as he strangles [[spoiler: Grandi]] to death or as he [[spoiler: falls dead into the murky waters of the stagnant river.]]
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Changed line(s) 35 (click to see context) from:
* GoryDiscretionShot: We hear a few comments about what was left of Mr. Linnekar and his girlfriend, but we never get to see their scattered remains.
to:
* GoryDiscretionShot: We hear a few comments about remarks on what was left of Mr. Linnekar and his girlfriend, but we never get to see their scattered remains.
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* {{Deconstruction}}: Welles' film was a parody of several BMovie and FilmNoir conventions, taking the genre inside out:
** The plot of the film which starts with a bombing that brings several key players together but eventually becomes the subplot to the larger background laid bear the strategies and subtext of noir movies. In a traditional noir, police investigation into crime often had a subtext laid on that the cops were not as guilded as the plot seemed, in Welles' film, the actual unconnected crime becomes an ExcusePlot by law-enforcement organizations on both sides of the law to exercise their political and personal wills and prejudices, which has absolutely nothing to do with the original crime.
** Detective Hank Quinlan is also a dark look at police work, showing how a life of crime-fighting has disillusioned and embittered him to the point that he has become worse than the criminals he has hunted down, and absolutely dismissive and snide to the idealistic Vargas. Vargas himself is not happy about some of the measures he has to take to bring down Quinlan, nor the fact that his dedication to his work keeps him away from his wife. As Vargas himself notes, honest policework is never intended to be a easy or safe job.
** Many of the characters are themselves parodies of older films. Suzy Vargas mocks Grandi for being a Film/LittleCaesar, and he and his outfits are essentially gangster movie cliches. Suzy's ordeal in the film, where she goes from idealistic newly bird wife to almost being StuffedIntoTheFridge to give the hero trauma, and eventually framed [[spoiler:as a floozy and murder suspect]], is a commentary on the female lead/love interest/femme fatale archetype actresses often played in these movies.
** The plot of the film which starts with a bombing that brings several key players together but eventually becomes the subplot to the larger background laid bear the strategies and subtext of noir movies. In a traditional noir, police investigation into crime often had a subtext laid on that the cops were not as guilded as the plot seemed, in Welles' film, the actual unconnected crime becomes an ExcusePlot by law-enforcement organizations on both sides of the law to exercise their political and personal wills and prejudices, which has absolutely nothing to do with the original crime.
** Detective Hank Quinlan is also a dark look at police work, showing how a life of crime-fighting has disillusioned and embittered him to the point that he has become worse than the criminals he has hunted down, and absolutely dismissive and snide to the idealistic Vargas. Vargas himself is not happy about some of the measures he has to take to bring down Quinlan, nor the fact that his dedication to his work keeps him away from his wife. As Vargas himself notes, honest policework is never intended to be a easy or safe job.
** Many of the characters are themselves parodies of older films. Suzy Vargas mocks Grandi for being a Film/LittleCaesar, and he and his outfits are essentially gangster movie cliches. Suzy's ordeal in the film, where she goes from idealistic newly bird wife to almost being StuffedIntoTheFridge to give the hero trauma, and eventually framed [[spoiler:as a floozy and murder suspect]], is a commentary on the female lead/love interest/femme fatale archetype actresses often played in these movies.
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* FramingTheGuiltyParty: "How many did you frame?" "Nobody that wasn't guilty!" And in fact it turns out that the bombing suspect actually was guilty.
to:
* FramingTheGuiltyParty: "How many did you frame?" "Nobody that wasn't guilty!" And in fact it turns out that the bombing suspect actually was guilty.guilty, or at least he confessed that he was guilty.
* GambitPileup: Between Vargas and Border police, Quinlan on the other side, Mexican gangsters and their greasers, and the original bombing criminals.
* HalfwayPlotSwitch: More like three-quarters. But while it starts out as if the film is about Vargas being a crusading lawman, the finale
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* IncrediblyObviousBomb: So obvious that the lady passenger in the car complains about a ticking noise.
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* IncrediblyObviousBomb: So obvious that the lady passenger in the car complains about a ticking noise. Since the bomb was planted with a short timer and was inteded to blow up immediately, subtlety was not really necessary.
* KnightTemplar: Quinlan firmly believes he's the law and can't do wrong, so when he frames criminals who he can't convict with available evidence, he's not doing anything wrong by planting evidence. When Vargas starts investigating his activities, Quinlan believes he is perfectly justified to abduct, terrorize and frame his wife to smear his reputation, because [[TautologicalTemplar obviously he knows best]].
Changed line(s) 45 (click to see context) from:
* MalignantPlotTumor: The original bombing investigation is almost completely forgotten by the end of the film in favor of Vargas' attempts to bring down Quinlan. The ending shoehorns in a line that the guy Quinlan framed really was guilty after all.
to:
* MalignantPlotTumor: The original bombing investigation is almost completely forgotten by the end of the film in favor of Vargas' attempts to bring down Quinlan. The ending shoehorns in a line that the guy Quinlan framed really was guilty after all. This is justified since the movie is about the toxic relationships between various law-enforcement organizations.
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* ReCut: A "director's cut" of ''Touch of Evil'' based on a contemporary Welles memo of how he wanted the film to be is now available on video. Welles' memo states however that the film is still behind his conception since it features footage shot by other directors and for him, the memo is merely a salvage job and not a "director's cut" as we understand it.
to:
* ReCut: A "director's cut" "Reconstruction" of ''Touch of Evil'' based on a contemporary Welles memo of how he wanted to salvage the film after seeing the first Preview and the release cut. The main intent for Welles was to be is now available on video. preserve the plot structure of several parallel stories intercut together. The producers recut it to make it more "accessible" but ended up, as per researchers, being more confusing than Welles' memo states however that the film is still behind his conception since it features footage shot by other directors and for him, the memo is merely a salvage job and not a "director's cut" as we understand it.version.
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Changed line(s) 48,50 (click to see context) from:
* NotEvenBotheringWithTheAccent: One of the most infamous examples, Welles assured Heston he didn't have to do a Hispanic accent for his FakeNationality role as the Mexican Narcotics officer Vargas, cobbling together unofficial backstory saying that Vargas lost his accent due to his travels outside of Mexico and working with Caucasians.
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles with very distinct, identifiable architecture. It's not a realistic film by any means. In any case, the idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing. Nevertheless, Heston later said he felt that not doing an accent for the role of the Mexican narcotics officer was a huge mistake, one of the biggest of his career.
** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character.
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles with very distinct, identifiable architecture. It's not a realistic film by any means. In any case, the idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing. Nevertheless, Heston later said he felt that not doing an accent for the role of the Mexican narcotics officer was a huge mistake, one of the biggest of his career.
** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character.
to:
* NotEvenBotheringWithTheAccent: NotEvenBotheringWithTheAccent:
** One of the most infamous examples, Welles assured Heston he didn't have to do a Hispanic accent for his FakeNationality role as the Mexican Narcotics officer Vargas, cobbling together unofficial backstory saying that Vargas lost his accent due to his travels outside of Mexico and working withCaucasians.Caucasians.
** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character. This is highly inaccurate, since Welles had no problem with foreigners playing different roles and Heston was integral to the film getting made in the first place. Though, years later, Heston said he felt that not doing an accent for the role of the Mexican narcotics officer was a huge mistake, one of the biggest of his career.
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles with very distinct, identifiable architecture. It's not a realistic film by any means. In any case, the idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing.Nevertheless, Heston later said he felt that not doing an accent for the role of the Mexican narcotics officer was a huge mistake, one of the biggest of his career.
** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character.
** One of the most infamous examples, Welles assured Heston he didn't have to do a Hispanic accent for his FakeNationality role as the Mexican Narcotics officer Vargas, cobbling together unofficial backstory saying that Vargas lost his accent due to his travels outside of Mexico and working with
** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character. This is highly inaccurate, since Welles had no problem with foreigners playing different roles and Heston was integral to the film getting made in the first place. Though, years later, Heston said he felt that not doing an accent for the role of the Mexican narcotics officer was a huge mistake, one of the biggest of his career.
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles with very distinct, identifiable architecture. It's not a realistic film by any means. In any case, the idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing.
** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character.
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** There's even a scene in ''Film/EdWood'' poking fun at this, where Welles is shown complaining about the sheer absurdity of the studio wanting Charlton Heston to play a Mexican character.
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Changed line(s) 24 (click to see context) from:
* DodgyToupee: Grandi loses his at one point.
to:
* DodgyToupee: Grandi loses have a tendency to loose his "rug" and then taking several attempts at one point.making it sit right again.
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minor typo
Changed line(s) 9,10 (click to see context) from:
The film begins with an exploding car killing a powerful businessman, witnessed by Vargas and his new wife Susie on the Mexican border. Claiming joint jurisdiction (as the bombing may have been placed in Mexico), he works his way into the investigation headed by Quinlan. Quinlan quickly sets his beady eyes on a lowly Mexican employee that had a grudge with that businessman (the employee wanted to marry the businessman's white daughter). When Vargas notices that some of the evidence found by Quinlan's loyal partner Menzies was clearly planted (but can't prove it), Vargas starts questioning Quinlan's case history. But while this is all happening, Susie Vargas is left all alone at a creepy hotel where some gang members that Vargas is after is holed up as well and Quinlan starts making a few calls to the gang's boss about what to do with that lonely newlywed.
to:
The film begins with an exploding car killing a powerful businessman, witnessed by Vargas and his new wife Susie on the Mexican border. Claiming joint jurisdiction (as the bombing bomb may have been placed in Mexico), he works his way into the investigation headed by Quinlan. Quinlan quickly sets his beady eyes on a lowly Mexican employee that had a grudge with that businessman (the employee wanted to marry the businessman's white daughter). When Vargas notices that some of the evidence found by Quinlan's loyal partner Menzies was clearly planted (but can't prove it), Vargas starts questioning Quinlan's case history. But while this is all happening, Susie Vargas is left all alone at a creepy hotel where some gang members that Vargas is after is holed up as well and Quinlan starts making a few calls to the gang's boss about what to do with that lonely newlywed.
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Just expanding the page
Changed line(s) 49 (click to see context) from:
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles with very distinct, identifiable architecture. It's not a realistic film by any means. In any case, the idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing.
to:
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles with very distinct, identifiable architecture. It's not a realistic film by any means. In any case, the idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing. Nevertheless, Heston later said he felt that not doing an accent for the role of the Mexican narcotics officer was a huge mistake, one of the biggest of his career.
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Changed line(s) 30 (click to see context) from:
* GoryDiscretionShot: We hear a few comments about the final state of Mr. Linnekar and his girlfriend, but we never get to see their blown up bodies.
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* GoryDiscretionShot: We hear a few comments about the final state what was left of Mr. Linnekar and his girlfriend, but we never get to see their blown up bodies.scattered remains.
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* GoryDiscretionShot: We hear a few comments about the final state of Mr. Linnekar and his girlfriend, but we never get to see their blown up bodies.
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Changed line(s) 46 (click to see context) from:
** Subverter with 'Uncle' Joe Grandi, who seems to lose his rug pretty often.
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** Subverter Subverted with 'Uncle' Joe Grandi, who seems to lose his rug pretty often.
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* NeverBareheaded: Quinlan's hat never comes off, not even [[spoiler: as he falls dead into the murky waters of the stagnant river.]]
** Subverter with 'Uncle' Joe Grandi, who seems to lose his rug pretty often.
** Subverter with 'Uncle' Joe Grandi, who seems to lose his rug pretty often.
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Changed line(s) 3,4 (click to see context) from:
--> '''Tana''': He was some kind of man. What does it matter what you say about people?
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--> '''Tana''': He was some kind of man. What does it matter what you say about people?
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Making corrections, streamlining, producing accurate information, Its Albert Zugsmith and not Alan...
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''Touch of Evil'' (1958) is one of the last and one of the greatest examples of FilmNoir, written by, directed by and co-starring Creator/OrsonWelles.
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''Touch of Evil'' (1958) is one of the last and one of the greatest examples of FilmNoir, written by, written, directed by and co-starring Creator/OrsonWelles.
Changed line(s) 7,10 (click to see context) from:
The film begins with an exploding car killing a powerful businessman, witnessed by Vargas and his new wife Susie on the Mexican border. Claiming joint jurisdiction (as the bombing may have been placed in Mexico), he works his way into the investigation headed by Quinlan. Quinlan quickly sets his beady eyes on a lowly Mexican employee that had a grudge with that businessman (the employee wanted to marry the businessman's white daughter). When Vargas notices that some of the evidence found by Quinlan's loyal partner Menzies was clearly planted (but can't prove it), Vargas starts questioning Quinlan's case history. But while this is all happening, Susie Vargas is left all alone at a creepy hotel where some gang members that Vargas is after is holed up as well... and Quinlan starts making a few calls to the gang's boss about what to do with that lonely newlywed...
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]] Decades later the film was re-cut twice - first in 1976 and again in 1998 when a letter Welles wrote full of instructions on how the film was to be put together (which Creator/CharltonHeston himself reportedly had been in possession of for years) was used to reconstruct the film as close to Welles's vision as possible.
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]] Decades later the film was re-cut twice - first in 1976 and again in 1998 when a letter Welles wrote full of instructions on how the film was to be put together (which Creator/CharltonHeston himself reportedly had been in possession of for years) was used to reconstruct the film as close to Welles's vision as possible.
to:
The film begins with an exploding car killing a powerful businessman, witnessed by Vargas and his new wife Susie on the Mexican border. Claiming joint jurisdiction (as the bombing may have been placed in Mexico), he works his way into the investigation headed by Quinlan. Quinlan quickly sets his beady eyes on a lowly Mexican employee that had a grudge with that businessman (the employee wanted to marry the businessman's white daughter). When Vargas notices that some of the evidence found by Quinlan's loyal partner Menzies was clearly planted (but can't prove it), Vargas starts questioning Quinlan's case history. But while this is all happening, Susie Vargas is left all alone at a creepy hotel where some gang members that Vargas is after is holed up as well... well and Quinlan starts making a few calls to the gang's boss about what to do with that lonely newlywed...
newlywed.
Thestory goes that film is an unlikely collaboration between producer Alan Albert Zugsmith offered (former media lawyer and producer of B-movies and Rock Hudson melodramas) and Orson Welles. There are two versions on how the film got made. In version one, Creator/CharltonHeston was cast in the film but on learning that Welles a pile of scripts to was also cast, he insisted that he direct and the film. The other story is that Orson Welles had appeared for one of Zugsmith's films and asked for Welles to choose one of the worst properties he had. Welles chose the less promising one (based on (the pulp novel ''Badge of Evil'') to prove Evil''), reasoning that he could the weak material would allow him more creative freedom, less risk and that a success would make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling it easier to make his long-term projects. It didn't resemble work out as planned though. The film suffered from ExecutiveMeddling, was re-edited and some of the scenes were shot by other directors. It was then dumped poorly and failed at the box-office. It would be Welles' vision.]] Decades later final Hollywood film. There are three versions of the film. The original theatrical cut, an earlier preview version with more Welles footage discovered in the vaults from 1976. In 1998, producer Rick Schmidlin, worked with Walter Murch and critic Jonathan Rosenbaum to create a Reconstruction based on a memo written by Welles. Recent DVD-BR releases features all three versions but since the 90s, the Reconstruction is regarded as the film was re-cut twice - first in 1976 and again in 1998 when a letter Welles wrote full of instructions on how the film was closest to be put together (which Creator/CharltonHeston himself reportedly had been in possession of for years) was used to reconstruct the film as close to Welles's vision as possible.
Welles' vision.
The
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* FilmNoir: Considered one of the last great ones from that era.
to:
* FilmNoir: Considered one of the last great ones from that era. Indeed, critics noted that it was such a GenreBusting film and that so many censorship taboos were broken that it [[GenreKiller ended]] the classic FilmNoir era. In terms of film production, its pioneering use of the lightweight Eclair camera paved the way for independent and arthouse films across the world.
Changed line(s) 28 (click to see context) from:
* GreyAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him. Vargas for his part sees the grayness of policework
to:
* GreyAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him. Vargas for his part sees the grayness of policeworkpolicework:
Changed line(s) 46 (click to see context) from:
* ReCut: A "director's cut" of ''Touch of Evil'' based on a contemporary Welles memo of how he wanted the film to be is now available on video.
to:
* ReCut: A "director's cut" of ''Touch of Evil'' based on a contemporary Welles memo of how he wanted the film to be is now available on video. Welles' memo states however that the film is still behind his conception since it features footage shot by other directors and for him, the memo is merely a salvage job and not a "director's cut" as we understand it.
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Changed line(s) 44 (click to see context) from:
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Marlene Dietrich, the film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles. It's not a realistic film by any means and Heston's accent isn't especially out of place within the film.
to:
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Marlene Dietrich, the Creator/MarleneDietrich who doesn't even hide her famous German accent. The film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles. Angeles with very distinct, identifiable architecture. It's not a realistic film by any means and Heston's accent isn't especially out of place within means. In any case, the film.idea of actors affecting accents for their part wasn't all that common among Golden Age actors like Charlton Heston or Welles, who weren't into the later dominant style of MethodActing.
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Changed line(s) 28 (click to see context) from:
* GreyAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him.
to:
* GreyAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him. Vargas for his part sees the grayness of policework
--> '''Vargas''': ''"A policeman's job is only easy in a PoliceState."''
--> '''Vargas''': ''"A policeman's job is only easy in a PoliceState."''
Changed line(s) 42 (click to see context) from:
* NotEvenBotheringWithTheAccent: One of the most infamous examples, Welles assured Heston he didn't have to do a Hispanic accent for his FakeNationality role as the Mexican Narcotics officer Vargas, cobbling together unofficial backstory saying that Vargas lost his accent due to his travels outside of Mexico and working with Caucasians. It's one of the biggest knocks on the film even from its fans, and Heston spent the rest of his life admitting it was one of the biggest mistakes he ever made.
to:
* NotEvenBotheringWithTheAccent: One of the most infamous examples, Welles assured Heston he didn't have to do a Hispanic accent for his FakeNationality role as the Mexican Narcotics officer Vargas, cobbling together unofficial backstory saying that Vargas lost his accent due to his travels outside of Mexico and working with Caucasians.
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Marlene Dietrich, the film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles. It'sone of the biggest knocks on the not a realistic film even from its fans, by any means and Heston spent Heston's accent isn't especially out of place within the rest of his life admitting it was one of the biggest mistakes he ever made.film.
** It must be noted that there are no Mexicans in the cast. Grandi is played by an Armenian actor Akim Tamiroff and the Gypsy Fortune teller played by Marlene Dietrich, the film is set in a border area between America and Mexico and actually shot around Venice Beach, Los Angeles. It's
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* {{Fanservice}}: Janet Leigh laying on her bed (both when talking to Vargas over the phone and later, when sleeping). In a figure-hugging teddy, sans skirt. [[ShesGotLegs With her long and beautiful legs featured prominently.]]
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* TheCameo: Welles's old friend and former co-star Creator/JosephCotten makes a brief appearance at the bombing crime scene, as the coroner. ("Now you could strain him through a sieve.")
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* DiesWideOpen
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* DiesWideOpenDiesWideOpen: Grandi when he is strangled.
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* EpicTrackingShot: The opening consists of one long tracking shot, which is considered by film afficionados to be one of the best ever.
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* DodgyToupee: Grandi loses his at one point.
* EpicTrackingShot: The opening consists of one long tracking shot, which is considered by filmafficionados aficionados to be one of the best ever.
* EpicTrackingShot: The opening consists of one long tracking shot, which is considered by film
* HitlerCam: Orson Welles was fond of this trope, going all the way back to ''Film/CitizenKane''. Here he uses it for the scene where Quinlan, Vargas, and others are gathered around the body of the murder victim. Notably he does not use it when showing Menzies, Quinlan's faithful sidekick.
Changed line(s) 32 (click to see context) from:
* IncrediblyObviousBomb
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* IncrediblyObviousBombIncrediblyObviousBomb: So obvious that the lady passenger in the car complains about a ticking noise.
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* SweaterGirl: Janet Leigh manages to provide {{Fanservice}} while portraying a respectable woman by wearing some very, very tight sweaters.
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Changed line(s) 9 (click to see context) from:
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]] Decades later the film was re-cut twice - first in 1976 and again in 1998 when a letter Welles wrote full of instructions on how the film was to be put together (which CharltonHeston himself reportedly had been in possession of for years) was used to reconstruct the film as close to Welles's vision as possible.
to:
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]] Decades later the film was re-cut twice - first in 1976 and again in 1998 when a letter Welles wrote full of instructions on how the film was to be put together (which CharltonHeston Creator/CharltonHeston himself reportedly had been in possession of for years) was used to reconstruct the film as close to Welles's vision as possible. possible.
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* DirtyCop
to:
* DirtyCopDirtyCop: Quinlan has been framing suspects for years.
Changed line(s) 22,23 (click to see context) from:
* FramingTheGuiltyParty: "How many did you frame?" "Nobody that wasn't guilty!"
** [[spoiler:Subverted with Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
** [[spoiler:Subverted with Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
to:
* FramingTheGuiltyParty: "How many did you frame?" "Nobody that wasn't guilty!"
guilty!" And in fact it turns out that the bombing suspect actually was guilty.
**[[spoiler:Subverted Subverted with Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
**
Changed line(s) 34 (click to see context) from:
* KnightInSourArmor: A long time ago, Quinlan was unable to prove the guy [[spoiler:who killed his wife]] committed the crime. It drives him to start framing guys he's convinced by the pain in "my leg" are guilty.
to:
* KnightInSourArmor: A long time ago, Quinlan was unable to prove the guy [[spoiler:who who killed his wife]] wife committed the crime. It drives him to start framing guys he's convinced by the pain in "my leg" are guilty.
Changed line(s) 36 (click to see context) from:
* MalignantPlotTumor: The original bombing investigation is almost completely forgotten by the end of the film in favor of Vargas' attempts to bring down Quinlan. The ending shoehorns in a line that [[spoiler:the guy Quinlan framed really was guilty after all.]]
to:
* MalignantPlotTumor: The original bombing investigation is almost completely forgotten by the end of the film in favor of Vargas' attempts to bring down Quinlan. The ending shoehorns in a line that [[spoiler:the the guy Quinlan framed really was guilty after all.]]
Changed line(s) 42 (click to see context) from:
* VillainWithGoodPublicity: Hank Quinlan became a very well-respected policeman through careful evidence tampering. In the end, [[spoiler: it even turns out that the man Quinlan was trying to frame in the film ''was'' guilty, giving him the epitaph, "He was a great detective, but a lousy cop."]]
to:
* VillainWithGoodPublicity: Hank Quinlan became a very well-respected policeman through careful evidence tampering. In the end, [[spoiler: it even turns out that the man Quinlan was trying to frame in the film ''was'' guilty, giving him the epitaph, "He was a great detective, but a lousy cop."]]"
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Deleted line(s) 14 (click to see context) :
* AllStarCast: Charlton Heston, Orson Welles, Janet Leigh, Dennis Weaver, and Marlene Dietrich, plus cameos from Joseph Cotten, Zsa Zsa Gabor, and Mercedes [=McCambridge=]. This is all the more impressive when you realize ''Touch Of Evil'' was meant to be a quickie B-picture.
Deleted line(s) 22,24 (click to see context) :
* ExecutiveMeddling: The film was made under budget and on schedule, but the studio still took it from Welles's control and re-edited it, cutting some scenes out and reshooting others.
** Heston claimed afterward that he convinced the studio executives that he'd star in the movie only because he thought Welles was the director, when the studio only hired him to act as Quinlan (in truth, Welles and the producer had already agreed to let him direct the movie based on the ''Badge of Evil'' novel/script).
* FakeNationality: American Charlton Heston plays Mexican police officer Mike Vargas. He plays him well, but still, come on -- it's just Chuck Heston with a tan and a [[MagnificentMoustachesOfMexico Mexican mustache]]. Lampshaded by several characters, who say that he doesn't look the least bit Mexican.
** Heston claimed afterward that he convinced the studio executives that he'd star in the movie only because he thought Welles was the director, when the studio only hired him to act as Quinlan (in truth, Welles and the producer had already agreed to let him direct the movie based on the ''Badge of Evil'' novel/script).
* FakeNationality: American Charlton Heston plays Mexican police officer Mike Vargas. He plays him well, but still, come on -- it's just Chuck Heston with a tan and a [[MagnificentMoustachesOfMexico Mexican mustache]]. Lampshaded by several characters, who say that he doesn't look the least bit Mexican.
Changed line(s) 27 (click to see context) from:
** Subverted with [[spoiler:Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
to:
** Subverted [[spoiler:Subverted with [[spoiler:Quinlan's Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
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Changed line(s) 28 (click to see context) from:
* GrayAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him.
to:
* GrayAndGrayMorality: GreyAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him.
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* CloudCuckooLander: The Mirador Motel Night Manager.
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Just expanding the page.
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* NotEvenBotheringWithTheAccent: One of the most infamous examples, Welles assured Heston he didn't have to do a Hispanic accent for his FakeNationality role as the Mexican Narcotics officer Vargas, cobbling together unofficial backstory saying that Vargas lost his accent due to his travels outside of Mexico and working with Caucasians. It's one of the biggest knocks on the film even from its fans, and Heston spent the rest of his life admitting it was one of the biggest mistakes he ever made.
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This film provides examples of:
to:
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Just expanding the page.
Changed line(s) 9 (click to see context) from:
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]]
to:
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]]]] Decades later the film was re-cut twice - first in 1976 and again in 1998 when a letter Welles wrote full of instructions on how the film was to be put together (which CharltonHeston himself reportedly had been in possession of for years) was used to reconstruct the film as close to Welles's vision as possible.
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None
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''Touch of Evil'' (1958) is one of the last and one of the greatest examples of FilmNoir, written by, directed by and co-starring OrsonWelles.
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''Touch of Evil'' (1958) is one of the last and one of the greatest examples of FilmNoir, written by, directed by and co-starring OrsonWelles.Creator/OrsonWelles.
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Welles plays Captain [[DirtyCop Hank Quinlan]], a fat, ugly and sad corrupt police officer. The black-and-white film also features Charlton Heston as [[KnightInSourArmor Mike Vargas]], a Mexican narcotics agent on his honeymoon, Janet Leigh as his bride, and Marlene Dietrich as Tanya, a cigar-smoking Mexican gypsy brothel owner with huge beautiful eyes.
to:
Welles plays Captain [[DirtyCop Hank Quinlan]], a fat, ugly and sad corrupt police officer. The black-and-white film also features Charlton Heston Creator/CharltonHeston as [[KnightInSourArmor Mike Vargas]], a Mexican narcotics agent on his honeymoon, Janet Leigh as his bride, and Marlene Dietrich as Tanya, a cigar-smoking Mexican gypsy brothel owner with huge beautiful eyes.
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* TheAlcoholic: Hank doesn't drink... until he does and then he ''drinks.''
to:
* TheAlcoholic: Hank Quinlan doesn't drink... until drink often, but when he does and then he ''drinks.''gets absolutely ''plastered''.
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[[quoteright:275:http://static.tvtropes.org/pmwiki/pub/images/movieposterTouchOfEvil-275W_3406.jpg]]
''Touch of Evil'' (1958) is one of the last and one of the greatest examples of FilmNoir, written by, directed by and co-starring OrsonWelles.
Welles plays Captain [[DirtyCop Hank Quinlan]], a fat, ugly and sad corrupt police officer. The black-and-white film also features Charlton Heston as [[KnightInSourArmor Mike Vargas]], a Mexican narcotics agent on his honeymoon, Janet Leigh as his bride, and Marlene Dietrich as Tanya, a cigar-smoking Mexican gypsy brothel owner with huge beautiful eyes.
The film begins with an exploding car killing a powerful businessman, witnessed by Vargas and his new wife Susie on the Mexican border. Claiming joint jurisdiction (as the bombing may have been placed in Mexico), he works his way into the investigation headed by Quinlan. Quinlan quickly sets his beady eyes on a lowly Mexican employee that had a grudge with that businessman (the employee wanted to marry the businessman's white daughter). When Vargas notices that some of the evidence found by Quinlan's loyal partner Menzies was clearly planted (but can't prove it), Vargas starts questioning Quinlan's case history. But while this is all happening, Susie Vargas is left all alone at a creepy hotel where some gang members that Vargas is after is holed up as well... and Quinlan starts making a few calls to the gang's boss about what to do with that lonely newlywed...
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]]
----
This film provides examples of:
* TheAlcoholic: Hank doesn't drink... until he does and then he ''drinks.''
* AuthorAppeal: Welles had been a huge fan of Dennis Weaver's work on ''Series/{{Gunsmoke}}'' for years, and wrote his part specifically so he could have the chance to direct him in a movie. Similarly, Marlene Dietrich's role was [[ThrowItIn added during filming]] because she and Welles were best friends and she wanted a part in the movie.
* AllStarCast: Charlton Heston, Orson Welles, Janet Leigh, Dennis Weaver, and Marlene Dietrich, plus cameos from Joseph Cotten, Zsa Zsa Gabor, and Mercedes [=McCambridge=]. This is all the more impressive when you realize ''Touch Of Evil'' was meant to be a quickie B-picture.
* AsLongAsItSoundsForeign: Charlton Heston's attempts to speak Spanish are pretty laughable. When the sentence is short, he'll give it the old college try, but his gringo accent betrays him (e.g. "¿Puedo usar el teléfono?" in Sanchez's apartment). Most of the time, though, he'll just mumble something deliberately inaudible and end it with an appropriate Spanish word. (e.g. "Murmurbliggleblamurmur derechos aquí" in the same scene, presumably explaining to the suspect that he has no jurisdiction.)
* CaliforniaDoubling: Sorta. While it depicts life on the California/Mexico border, most scenes were filmed in Venice, California about 140 miles away.
* CreepyCrossdresser: [=McCambridge=] appears as an androgynous-looking gang member abducting Susie Vargas. Her big line? "I like to watch."
* DiesWideOpen
* DirtyCop
* EpicTrackingShot: The opening consists of one long tracking shot, which is considered by film afficionados to be one of the best ever.
* ExecutiveMeddling: The film was made under budget and on schedule, but the studio still took it from Welles's control and re-edited it, cutting some scenes out and reshooting others.
** Heston claimed afterward that he convinced the studio executives that he'd star in the movie only because he thought Welles was the director, when the studio only hired him to act as Quinlan (in truth, Welles and the producer had already agreed to let him direct the movie based on the ''Badge of Evil'' novel/script).
* FakeNationality: American Charlton Heston plays Mexican police officer Mike Vargas. He plays him well, but still, come on -- it's just Chuck Heston with a tan and a [[MagnificentMoustachesOfMexico Mexican mustache]]. Lampshaded by several characters, who say that he doesn't look the least bit Mexican.
* FilmNoir: Considered one of the last great ones from that era.
* FramingTheGuiltyParty: "How many did you frame?" "Nobody that wasn't guilty!"
** Subverted with [[spoiler:Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
* GrayAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him.
* GutFeeling: "I wonder, what makes you so very sure it was dynamite?" "My leg."
* ICantBelieveItsNotHeroin: There is ''actual'' heroin as well, but...
-->'''Gang Leader''': We've scattered more reefer stubs around.
-->'''Grandi''': You kids didn't use none of that stuff yourself, anh?
-->'''Ginnie''': Think we're crazy?
-->'''Grandi''': Nobody in the Grandi family gets hooked, understand? That's the rule.
* IncrediblyObviousBomb
* IOweYouMyLife: Menzies, to Quinlan.
* IronicEcho: "That's the second bullet I took for you, partner..."
* KnightInSourArmor: A long time ago, Quinlan was unable to prove the guy [[spoiler:who killed his wife]] committed the crime. It drives him to start framing guys he's convinced by the pain in "my leg" are guilty.
* MadeOfPlasticine: "Once he ran this town. Now you could strain him through a sieve."
* MalignantPlotTumor: The original bombing investigation is almost completely forgotten by the end of the film in favor of Vargas' attempts to bring down Quinlan. The ending shoehorns in a line that [[spoiler:the guy Quinlan framed really was guilty after all.]]
* TheOner: The opening sequence features one of the most famous continuous camera shots. Also, at the shoe clerk's apartment, there is a ''long'' continuous shot where the camera moves from room to room following Heston.
* ReCut: A "director's cut" of ''Touch of Evil'' based on a contemporary Welles memo of how he wanted the film to be is now available on video.
* RedRightHand: Inverted in a way. Quinlan has a limp and says he can tell when someone is guilty because his leg begins to hurt. However, the reason he has a limp is because he took a bullet for his partner.
* VillainousBreakdown: Hank's descent after his last meeting with Grandi.
* VillainWithGoodPublicity: Hank Quinlan became a very well-respected policeman through careful evidence tampering. In the end, [[spoiler: it even turns out that the man Quinlan was trying to frame in the film ''was'' guilty, giving him the epitaph, "He was a great detective, but a lousy cop."]]
* YourDaysAreNumbered: When Quinlan visits his friend Tana the fortune teller. He asks her to see his future. Tana warns him "You haven't got any... Your future is all used up."
----
''Touch of Evil'' (1958) is one of the last and one of the greatest examples of FilmNoir, written by, directed by and co-starring OrsonWelles.
Welles plays Captain [[DirtyCop Hank Quinlan]], a fat, ugly and sad corrupt police officer. The black-and-white film also features Charlton Heston as [[KnightInSourArmor Mike Vargas]], a Mexican narcotics agent on his honeymoon, Janet Leigh as his bride, and Marlene Dietrich as Tanya, a cigar-smoking Mexican gypsy brothel owner with huge beautiful eyes.
The film begins with an exploding car killing a powerful businessman, witnessed by Vargas and his new wife Susie on the Mexican border. Claiming joint jurisdiction (as the bombing may have been placed in Mexico), he works his way into the investigation headed by Quinlan. Quinlan quickly sets his beady eyes on a lowly Mexican employee that had a grudge with that businessman (the employee wanted to marry the businessman's white daughter). When Vargas notices that some of the evidence found by Quinlan's loyal partner Menzies was clearly planted (but can't prove it), Vargas starts questioning Quinlan's case history. But while this is all happening, Susie Vargas is left all alone at a creepy hotel where some gang members that Vargas is after is holed up as well... and Quinlan starts making a few calls to the gang's boss about what to do with that lonely newlywed...
The story goes that producer Alan Zugsmith offered Welles a pile of scripts to direct and Welles asked for the worst one (based on pulp novel ''Badge of Evil'') to prove that he could make a great film of a bad script. Such a thing isn't really possible, but Welles did revise the script into something much better, and filmed that. Unfortunately, the theatrical cut [[ExecutiveMeddling didn't resemble Welles' vision.]]
----
This film provides examples of:
* TheAlcoholic: Hank doesn't drink... until he does and then he ''drinks.''
* AuthorAppeal: Welles had been a huge fan of Dennis Weaver's work on ''Series/{{Gunsmoke}}'' for years, and wrote his part specifically so he could have the chance to direct him in a movie. Similarly, Marlene Dietrich's role was [[ThrowItIn added during filming]] because she and Welles were best friends and she wanted a part in the movie.
* AllStarCast: Charlton Heston, Orson Welles, Janet Leigh, Dennis Weaver, and Marlene Dietrich, plus cameos from Joseph Cotten, Zsa Zsa Gabor, and Mercedes [=McCambridge=]. This is all the more impressive when you realize ''Touch Of Evil'' was meant to be a quickie B-picture.
* AsLongAsItSoundsForeign: Charlton Heston's attempts to speak Spanish are pretty laughable. When the sentence is short, he'll give it the old college try, but his gringo accent betrays him (e.g. "¿Puedo usar el teléfono?" in Sanchez's apartment). Most of the time, though, he'll just mumble something deliberately inaudible and end it with an appropriate Spanish word. (e.g. "Murmurbliggleblamurmur derechos aquí" in the same scene, presumably explaining to the suspect that he has no jurisdiction.)
* CaliforniaDoubling: Sorta. While it depicts life on the California/Mexico border, most scenes were filmed in Venice, California about 140 miles away.
* CreepyCrossdresser: [=McCambridge=] appears as an androgynous-looking gang member abducting Susie Vargas. Her big line? "I like to watch."
* DiesWideOpen
* DirtyCop
* EpicTrackingShot: The opening consists of one long tracking shot, which is considered by film afficionados to be one of the best ever.
* ExecutiveMeddling: The film was made under budget and on schedule, but the studio still took it from Welles's control and re-edited it, cutting some scenes out and reshooting others.
** Heston claimed afterward that he convinced the studio executives that he'd star in the movie only because he thought Welles was the director, when the studio only hired him to act as Quinlan (in truth, Welles and the producer had already agreed to let him direct the movie based on the ''Badge of Evil'' novel/script).
* FakeNationality: American Charlton Heston plays Mexican police officer Mike Vargas. He plays him well, but still, come on -- it's just Chuck Heston with a tan and a [[MagnificentMoustachesOfMexico Mexican mustache]]. Lampshaded by several characters, who say that he doesn't look the least bit Mexican.
* FilmNoir: Considered one of the last great ones from that era.
* FramingTheGuiltyParty: "How many did you frame?" "Nobody that wasn't guilty!"
** Subverted with [[spoiler:Quinlan's effort to get the Mexican drug gang to kidnap an innocent Susie Vargas, then kill the gang leader and frame the drugged Susie for that murder.]]
* GrayAndGrayMorality: Quinlan only frames criminals he thinks are guilty, and Vargas is only able to stop him when Menzies -- whom Quinlan had previously ''taken a bullet'' for, causing his limp -- agrees to betray him.
* GutFeeling: "I wonder, what makes you so very sure it was dynamite?" "My leg."
* ICantBelieveItsNotHeroin: There is ''actual'' heroin as well, but...
-->'''Gang Leader''': We've scattered more reefer stubs around.
-->'''Grandi''': You kids didn't use none of that stuff yourself, anh?
-->'''Ginnie''': Think we're crazy?
-->'''Grandi''': Nobody in the Grandi family gets hooked, understand? That's the rule.
* IncrediblyObviousBomb
* IOweYouMyLife: Menzies, to Quinlan.
* IronicEcho: "That's the second bullet I took for you, partner..."
* KnightInSourArmor: A long time ago, Quinlan was unable to prove the guy [[spoiler:who killed his wife]] committed the crime. It drives him to start framing guys he's convinced by the pain in "my leg" are guilty.
* MadeOfPlasticine: "Once he ran this town. Now you could strain him through a sieve."
* MalignantPlotTumor: The original bombing investigation is almost completely forgotten by the end of the film in favor of Vargas' attempts to bring down Quinlan. The ending shoehorns in a line that [[spoiler:the guy Quinlan framed really was guilty after all.]]
* TheOner: The opening sequence features one of the most famous continuous camera shots. Also, at the shoe clerk's apartment, there is a ''long'' continuous shot where the camera moves from room to room following Heston.
* ReCut: A "director's cut" of ''Touch of Evil'' based on a contemporary Welles memo of how he wanted the film to be is now available on video.
* RedRightHand: Inverted in a way. Quinlan has a limp and says he can tell when someone is guilty because his leg begins to hurt. However, the reason he has a limp is because he took a bullet for his partner.
* VillainousBreakdown: Hank's descent after his last meeting with Grandi.
* VillainWithGoodPublicity: Hank Quinlan became a very well-respected policeman through careful evidence tampering. In the end, [[spoiler: it even turns out that the man Quinlan was trying to frame in the film ''was'' guilty, giving him the epitaph, "He was a great detective, but a lousy cop."]]
* YourDaysAreNumbered: When Quinlan visits his friend Tana the fortune teller. He asks her to see his future. Tana warns him "You haven't got any... Your future is all used up."
----
