I just watched the theatrical cut, and I'm kicking myself that I'd waited so long. This film was outstanding, exceeding every expectation and it kept me engaged with its creative camera work. Interestingly, sixty years later, the US-Mexico border still seems just as complicated. This film is the bedrock of every cinematic border tale ever since.
Welles as a lurching but fascinating monster who kills or disappoints the only people who love him combined with the like weird disconnect between the surface level very 50s antiracism and equally very 50s racist make-up and the racialized implied sexual aspects of the scene in the motel make it fascinating and interesting if not necessarily lovable.
There's ammunition available for any number of ideological blunderbusses here, including Quindlen's theory of justice by strongman intuition -- his, it is independently verified, was always right, remember. Is evil treatable homeopathically? I'll leave that alone for now and just say that, my God, here is a film that lurks there, hulking, looming, brooding right over you. And there it stands now, not going anywhere.
Everything's in right place. My jaw dropped when I saw the set escpecially its lightning. The script is terrific. It really kicks the sentiment of politics: how stinks the police is (and always will be, but let's pray its not true). It's well directed and Orson Well's permormance brilliant! But am I only one here who thinks Heston's acting a bit off?
6.5/10 - This is a mixed bag...Orsons direction and the camera work is amazing as expected, I liked his character, the outline of the plot, and some of the dialogues....and yet, it was kinda a chore to sit through. Maybe because the other two main characters (and some of the side characters) were horribly written and even worse acted. Not the best film noir...