what a great opening sequence, great cast (Marlene!!!!!), orson welles is a master of the dark side

Although I think the low-angle shot is beaten into the ground here, there's never a doubt that this is the work of a master technician. Visually the whole movie is a Russian-doll succession of anachronisms; realist shot composition that would be more fully developed in the '70s emerging in a late '50s film paying homage to the noirs of the '40s. Tough, edgy and openly inscrutable.

Welles turns in another great performance as a man who is both physically and morally repulsive. His directorial choices might be even more interesting, like the overlapping dialogue. The cinematography is masterful, with its long takes, well-constructed compositions, and dynamic use of chiaroscuro. The fact that Charlton Heston is supposed to play a Mexican isn't as distracting as it sounds.

Corruption on the Mexican border. Hard to believe this was made 50 years ago, this still feels modern. Check the Walter Murch re-edit!

Very entertaining, beautifully shot. Orson Welles is perfectly disturbing. The only thing keeping it from a 90 is the fact that I rarely understood what was going on (though I understand that was Welles' plan). "Listen, I'm no cop now. I'm a husband! What did you do with her? Where's my wife? My wife!"

Possibly the best of Orson Welles and one of Heston's finest!

A cheesy noir thriller that just so happens to contain a brilliant performance by Orson Welles and some engaging cinematography.

Excellent film, far better han any movie featuring Charlton Heston playing a Mexican has any right to be.

Every shot is perfectly executed and Welles' acting is as good as always. Also, there are some genuinely emotional moments between Dietrich and Welles that provides it with some soul. Yet I fail to view this as anything deeper than a style and atmosphere film. Prove me wrong, please.

It has been called the last film noir. Perhaps it is not, but it is the pinnacle of the genre.

i HATE orson welles

That the opening three minutes are the best bit in the film (and truly amazing) is no insult against the rest of it. Visually the film remains extremely bold right throughout and the music complements it excellently, and though some of the film's eccentricity doesn't work (particularly the nightman at the hotel who was annoying as all heck and almost seemed down right farcical) most of it is great including the excellent character Captain Quinlan played well by an almost unrecognisable Welles.

I wasn't convinced by Heston's ethnicity, nor Janet Leigh, nor that bloke who runs the hotel. They're not bad by any means, just unfortunately silly. My eyes were glued to the screen whenever Orson appeared, though.

Orson Welles' best movie since Citizen Kane

Horrible acting where every movement and inflection is exaggerated. It honestly makes it hard to follow what people are saying, you're so focused on how unnaturally they're saying it. Hilariously misguided character attributes were fun, e.g., the fat cop (welles) who talks like his face is half paralyzed, the perpetually nervous guy whose wide eyed expression and constant stuttering/fumbling subtly tip off that he has an anxious personality, and the blind girl who had stink eye. ACT BLINDER

Remarkable film.