I watched it, guys.

I can think of very few movies that have such a complete control of what's in the frame and depth. There's a lot of shots that are so busy, so much going on in foreground and background or outside of the shot. So many little details. But it never overwhelms. And it's got some lines for the ages.

From the brilliant first tracking shot to the tense ending this had me hooked. The tale of Vargas a high ranking Mexican drug agent up against crooked cops and drug gangs, who try to set him up and ruin his career. Great thriller from Orson Welles

First time I watched this I turned it off, because the mood caught be be surprise and frankly wasn't to my liking. This time I decided to watch it purely for the technical prowess. It really is beautiful to look at, and has some groundbreaking camera work. That scene in the dark with the flashing light is gorgeous.
Still not a fan of any of the acting, wich is astonishing considering the all star cast.

Brilliant: the cinematography with its striking images (I'm referring to more than Janet Leigh) and impressive camerawork, the storytelling, Welles' larger-than-life character. All these elements make for an excellent noir. Had the tone been a bit darker, I would consider it a masterpiece. The cheesy 50s gang members, some B-movie acting and especially Weaver's schtick take it down a notch. Still, it's enormously interesting and suspenseful. And leave Heston alone... he's solid as the Mexican.

I thought I first saw this half my lifetime ago, when I was starting to learn film history. It may have been that I've only seen the legendary opening shot (which I had heard about in The Player before I ever saw the real thing), because in watching this at the Castro Theater, not a damn thing after that was familiar.

I probably can't articulate anything new, but aside from the great camerawork I was impressed with the sound design of the climax, and Heston straight-up OWNING that dude in the bar.

Janet Leigh characters sure had a rough couple years in hotels.

A film that is as beautiful to look at as the bad guy is mean. A fantastic film, the opening scene signals the end of the classic noir period - the car blows up and nothing will ever be the same again in American cinema.

Touch of Evil is a masterpiece of the genre and whilst films such as Big Sleep, Double Indemnity and Sunset Boulevard are rightly considered as greats, Orson Welles takes things to a whole new level of darkness and sleaze, violence and heartbreak with his interpretation of the pulp source material of Whit Masterson.

I've always enjoyed the cinematography of Touch of Evil but I didn't really appreciate the complexity of the storytelling until now. Just a brilliant story and incredible performances. Watch it for no other reason that Charleston Heston plays the worst Mexican ever.

Orson Wells’ other masterpiece, Touch of Evil is a brilliantly filmed noir suspenser following a corrupt and grizzled U.S. cop (Wells) that comes across the border to frame a Mexican for a car bombing, and butting heads with the local, more honest official (Charlton Heston). Great performances and an engaging storyline that steers a little off from Wells’ usual territory, but its the contrasting cinematography and handheld filming that really brings it all alive, from swooping pans, lengthy tracking shots and eye popping compositions.

Visually and artistically it's astounding, 6 stars, amazing production and direction but I found all that originality excessive and exhausting, against the flow of the action. Also, after reading the book, which probably is not as great as the movie or at least not so innovative, I found some of the situations or motivations of the characters in the film not fully explained.