| Videos (see all 2 NEW) |
| Charlton Heston | ... | Ramon Miguel 'Mike' Vargas | |
| Janet Leigh | ... | Susan 'Susie' 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 - Grandi Hood | |
| Mort Mills | ... | Al Schwartz - District Attorney's Assistant | |
| Victor Millan | ... | Manelo Sanchez | |
| Lalo Rios | ... | Risto - Grandi's Nephew | |
| 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 | (novel "Badge Of Evil") | |
| Paul Monash | (additional scenes original theatrical release) uncredited | |
| Franklin Coen | contributing writer: reshoots (uncredited) | |
Produced by | |||
| Rick Schmidlin | .... | producer (1998 restoration) | |
| 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 | |||
| Virgil W. Vogel | (as Virgil Vogel) | ||
| Edward Curtiss | (uncredited) | ||
Art Direction by | |||
| Robert Clatworthy | |||
| Alexander Golitzen | |||
Set Decoration by | |||
| John P. Austin | |||
| 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 | |||
| F.D. Thompson | .... | production manager (uncredited) | |
| 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 | |
| William Hooper | .... | sound effects editor (1998 restoration) | |
| Richard LeGrand Jr. | .... | supervising sound editor (1998 restoration) | |
| Bob McNabb | .... | sound effects editor (1998 restoration) (as Robert McNabb) | |
| Walter Murch | .... | sound re-recordist (1998 restoration) | |
| Peter Reale | .... | sound re-recordist (1998 restoration) | |
| Harry E. Snodgrass | .... | sound effects editor (1998 restoration) (as Harry Snodgrass) | |
| Bill Varney | .... | sound re-recordist (1998 restoration) | |
| Frank H. Wilkinson | .... | sound (as Frank Wilkinson) | |
| 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 | |||
| 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) | |
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 | |
Other crew | |||
| Jonathan Rosenbaum | .... | consultant (1998 restoration) | |
| Wayne Fitzgerald | .... | title designer (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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Seldom have I seen so many comments with so little understanding. The movie is not about Heston's "Mexican-ness" or lack of it. The movie is not about the 5 or 8 or 10 minute opening shot. The movie is not even, god help us, about Welles' descent from the heights into "slumming it" in a "Grade B" flick.
The movie is about two things : film-making, and character. Every shot worth remembering (and there are few that aren't) is an exercise in the possibilities of film, particularly black and white film. Woody Allen makes movies in black and white that are all conversation. Welles made movies in black and white because that's where the colors of the characters, the location and ultimately the meaning of the movie are possible. Black and white film is about the infinite possibilities of shadow. Touch of Evil is about the infinite possibilities of human nature.
Heston, for those of you who just can't see past a "bad" accent is about rigidity and short-sightedness. What kind of idiot would leave his wife in all those threatening situations? The kind of idiot who can't imagine that anyone would harm HIS wife, simply because she IS his wife! Akim Tamiroff's Grandi is about flexibility to the point of breakage. Always playing ALL ends against the middle he is the essence of "harmless" corruption, that ultimately harms everyone.
And Welles' Hank Quinlan ... I just don't have the time or space to explain that Quinlan is about the true cost of police work when the humanity has gone out of it. Ultimately Quinlan would kill his best and only friend, the only one, as Dietrich has it, who really loves him. At one time, perhaps, Quinlan WAS the image that Pete Menzies saw. But the man behind that image was eaten up long ago with alcohol and frustrated grief. It's all about winning and losing now, and things he would never do. Until he does them.
There are so many other moments and characters that I'm afraid you'll just have to watch the film with your eyes and your mind open instead of shut to "get it". Pay attention to what's on the screen instead of the smart, cynical, hip comments you can make about an actual work of heart.
Well, what the hell. Joan Didion said it best. Film criticism is petit point on kleenex.
Raoul Duke