• Arthur Azir

    ★★★★★ Added by Arthur Azir

    Talvez a melhor direção e atuação da carreira de Welles. Mesmo o personagem de Charlton Heston e Janet Leigh serem rasos, as atuações de Orson Welles, Joseph Calleia (como o braço direito de Quinlan) e Akim Tamiroff (como o bandido Grandi) fortalecem o excelente roteiro - do próprio Welles.

    Desde a irreverente trilha sonora, aos longos planos-sequência e a excelente fotografia de Russell Metty, 'Touch of Evil' é um dos melhores filmes do gênero noir.

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  • Eric Barroso

    ★★★★½ Rewatched by Eric Barroso 30 Jan, 2015

    Watched this with the Rosenbaum/Naremore commentary.

    A film of orbits and borders, in content and in form, both destroyed and reinforced with virtuoso filmmaking. The more watch this, the less I see it as the end of film noir,--Vertigo holds that distinction for me, they came out the same year so it's not a timeline thing- -and the more I see it as something completely new for Hollywood. Welles had been developing this style for the last decade in Europe, of course, but the use of space in here is something never before seen in America.

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  • ashleyheesch

    Added by ashleyheesch

    One of the most prominent scenes in cinema was in Welles' film, Citizen Kane that we just watched. The scene is when Kane is just a child playing in the snow, and the scene quickly adjusts to the view of the living room while keeping focus on young Charles Kane still playing in the snow in the background. The use of deep focus in Citizen Kane is most famous. However, in his other film Touch of Evil, deep focus is…

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  • benmsisson

    ★★★½ Watched by benmsisson 28 Jan, 2015

    Of all the cinematographic techniques expertly employed by Orson Welles, his well crafted and innovative fades and dissolves stood out to me the most. However, Touch of Evil and Citizen Kane form a dichotomy when it comes to transitions. In Citizen Kane, each fade unravels over a couple of seconds, and keeps a smooth flow to the film. Instead of jumping from one image to another, Orson Welles savors and lingers on the past frames while he incorporates the next.…

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  • joeesbenshade

    Added by joeesbenshade

    One cinematographic technique that Welles uses to great effect in Touch of Evil is the low angle shot. Welles mostly uses low angle shots to film Hank Quinlan, and the effect in Touch of Evil is to make him seem menacing and huge. For example, in Quinlan's first appearance he is shot from a low angle to make him appear larger and more powerful. Low-angle shots were used a little differently in Citizen Kane, as they did connote power in…

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  • Jon Baum

    ★★★★★ Watched by Jon Baum 28 Jan, 2015

    Orson Welles perfected the use of the dutch angle.

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  • Matt Wooldridge

    ★★★★ Watched by Matt Wooldridge 27 Dec, 2003

    Orson Welles' noir masterpiece finally fell before my eyes yesterday and it was a joy to watch. The script was great, the performances were great, but the directing just stood out as something ahead of its time. Okay, if Spielberg took stuff from Hitchcock and Lean, he must have also taken notes from Welles' films. The guy is a master framer and the way he moved the camera around the restless actors was something to behold. Welles was in front…

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  • OllieChebac

    Watched by OllieChebac 25 Jan, 2015

    This review reportedly contains spoilers. I can handle the truth.

    Orson Welles frequently and effectively uses underexposure in both “Citizen Kane” and “Touch of Evil”. The literal obscurity that this technique creates conveys a more metaphorical one: it emphasizes Inspector Quinlan’s moral corruption—the “darkness” of his soul, if you will—and the deception that cloaks all of his actions. Aptly, the use of underexposure is especially dominant in the scenes of the movie in which “shady” actions are underway, like when Quinlan is murdering Grandi and in the last scene when…

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  • suchagoodfriend

    ★★★★★ Added by suchagoodfriend

    So first off Welles is wicked fat. Second off the shadows and the camera movement are used even more brilliantly in this film than in Citizen Kane. However, what I want to focus on is the empty frame that is filled. Citizen Kane has many scenes that begin with an empty frame and then has a person move into it. Touch of Evil utilizes this technique to an even greater affect by focusing on one thing in a room then…

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  • nathanreider

    Added by nathanreider

    The use of underexposure in "Touch of Evil" is obvious, and adds great effects to the film. Underexposure heightens the suspicion and anticipation in a scene. One of the most noticeable examples of underexposure is the shot in which Hank kills Joe Grandi. For the duration of the shot, it is clear that Grandi is going to be murdered, but the phasing of under exposure adds tension to the action. In addition to the increased uncertainty of what is even…

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  • jeannepf

    ★★★★½ Added by jeannepf

    @AntCo
    Je te le conseille si tu ne l'as pas déjà vu !

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  • Joshua David

    ★★★★ Watched by Joshua David 09 Jan, 2015

    Some fantastic shots, and Welles is so fantastically off-putting. But it sure is hard to overlook Charlton Heston playing a Mexican.

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