Evil an Analysis of Mestizo Film Review

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The ambiguity that is a result of the mixing of cultures and races is "demystified" as the lecture notes imply mainly because the film refuses to stereotype. Right and wrong are not virtues obtained by any race in particular -- but by men and women who prefer not to be overcome by the strictures of profiles: Vargas, for example, pursues justice not because he is mestizo but because he is a just man.

Quinlan, on the other hand, is a white man with a past (implicitly filled with dalliances and minglings within the Mexican community). Quinlan's obsession with the Mexicans seems to stem from some kind of guilt -- which he himself barely acknowledges. Although he admits to planting evidence and framing the Mexicans, he asserts bitterly that they are nonetheless "guilty, guilty." Quinlan himself escapes judgment even though he is killed and all we know of him in the end is that he was "some kind of man." Here is the ultimate ambiguity expressed in the film: identity and race and even gender are hardly comforting bases.

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The real worth of the individual is somewhere in the heart -- which, of course, is inscrutable to the last.

In conclusion, Touch of Evil raises many questions regarding the mestizo -- but for the most part simply reflects the existence of mestizaje and does not attempt to portray it in either a solely positive or solely negative light: in fact, both worlds -- European and Mexican -- are attracted to mestizaje -- but even that is beside the point of the film: Touch of Evil is, as the title suggests, not about racializing but about spiritualizing.

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