The irony of this film is that it is supposed to show the evils of racism while casting the all too white Charlton Heston, Akim Tamiroff and Marlene Dietrich as Mexicans. Aside from this irony, the film is one of the most important films within the genre of Film Noir for good reason. The cinematography in the first and last scenes are pure brilliance. This is arguably one of Orson Welles best films, both as an actor and director. If you do watch it make sure and watch the reconstructed version, based on Welles original desire for the film.

I'm tagging this as the Welles cut; the version I watched was the one reassembled based on his notes. Can't imagine it another way, though now very curious what the original cut the studio meddled with looked like. Masterfully framed as presented, keeps you on the edge of your seat. Hard boiled, with crooked cops, detestable scumbags, against a wonderfully seedy backdrop. What's not to love?

I was really disappointed by this movie. Full disclosure - I am not generally one for film noir because the noir is often used as an excuse to idolize mediocre films. I very much had that feeling while watching this movie. While there is a lot to like (the three leads and the intended theme), the delivery is very meh. And once you get past the leads, there is a whole lot of really bad acting. follow me at https://IHATEBadMovies.com or facebook IHATEBadMovies

(This was the newly cut version) Good plot, incredibly modern cinematography. The brown face might be disputable these days. Can't say I've been blown away by Charlton Heston's performance but Welles himself is perfect as a gruff "great detective but lousy cop". Some investigation, some manipulation, a typical noir ambiance. Was enjoyable till the end. Just had issues with the extremely naive bride. What the hell is wrong with her ? She has absolutely zero survival instinct.

Much better and more coherent than I remembered--not sure if it's due to being less mature 20 years ago or due to not seeing the restored print. What I saw this time was brilliant and flashy, Welles' best since Kane. I loved the shot compositions and use of framing to both highlight character interactions as well as to suggest a sense of mood and danger--reminiscent of The Third Man. Heston didn't irritate me as much as he usually does, and the scenes with Janet Leigh (especially in the hotel) were both fun and chilling.