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Touch of Evil

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Overview

Orson Welles' film noir masterpiece (and final Hollywood film) Touch of Evil is presented on DVD in a manner that hews as close as possible to the director's original vision. As legend has it, the studio took control of Welles' film, barring him from the editing process. After first viewing the studio's truncated version of his film, Welles wrote a long memo (included in this package) detailing all the changes he deemed necessary. That memo was the basis for the reconstructed Touch of Evil presented here -- ...
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DVD (Wide Screen / Black & White / Dolby 5.1 / Mono)
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Overview

Orson Welles' film noir masterpiece (and final Hollywood film) Touch of Evil is presented on DVD in a manner that hews as close as possible to the director's original vision. As legend has it, the studio took control of Welles' film, barring him from the editing process. After first viewing the studio's truncated version of his film, Welles wrote a long memo (included in this package) detailing all the changes he deemed necessary. That memo was the basis for the reconstructed Touch of Evil presented here -- complete, uncut, and in widescreen format. The production notes offer full detail on the film's history. Also included are short biographies and selected filmographies on the film's colorful cast and crew, including Welles, Charlton Heston, Janet Leigh, and Marlene Dietrich. This DVD also includes the original theatrical trailer and comes with Spanish and French subtitles and English captioning. For the film's legion of longtime fans, as well as those viewing it for the first time, this DVD offers a definitive and educational package.
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Special Features

Welles' memo; Theatrical trailer; Production notes; Cast and filmmakers
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Editorial Reviews

All Movie Guide - Mark Deming
After the commercial disappointment and political controversy of Citizen Kane, Orson Welles was never given another opportunity to make a film with an entirely free hand in the United States. Touch of Evil was as close as he came (producer Albert Zugsmith has said he gave Welles no interference, but that the upper management at Universal insisted on re-editing the film against his wishes), but while Welles was often regarded as a director too much in love with "art" to make a strictly commercial film, Touch of Evil proved he could have it both ways -- it's a strikingly constructed, visually audacious film that's also a great piece of popcorn entertainment. The justifiably famous opening shot -- a long tracking sequence that opens with a man planting a bomb in a car and ends with a newlywed Mexican DEA agent (Charlton Heston) and his bride (Janet Leigh) crossing the border -- is only the most spectacular bit of visual stunt work in this film; Welles seems to have having a grand time with his camera, and in its way this picture is just as visually exciting and inventive as Citizen Kane. If the story is only one or two steps up from a standard detective potboiler, it's told with enough enthusiasm and tongue-in-cheek wit that one can read it as a parody or a straight neo-noir drama, and it works either way. Also, Welles always had a gift with actors, which certainly didn't fail him here. If Charlton Heston never seems convincing as a Mexican, his straight-arrow strength and thirst for justice certainly suit the role, while Janet Leigh is a virtuously sexy new bride, and Welles himself is superb as the bloated Hank Quinlan, who seems to be collapsing under the weight of his own corruption. (Welles also brought in a distinguished supporting cast, and Joseph Calleia, Akim Tamiroff, Marlene Dietrich, and Mercedes McCambridge all deliver performances as memorable as the leads.) If Touch of Evil doesn't have the same ambitious sweep of Citizen Kane or The Magnificent Ambersons, that's probably because it was never meant to have it; this film is the work of a great artist having a lot of fun telling a good yarn, and it's wildly entertaining while still delivering the kind of excitement that only a real artist can deliver.
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Product Details

  • Release Date: 10/31/2000
  • UPC: 025192047022
  • Original Release: 1958
  • Rating:

  • Source: Universal Studios
  • Region Code: 1
  • Aspect Ratio: Theatre Wide-Screen (1.85.1)
  • Presentation: Wide Screen / Black & White / Dolby 5.1 / Mono
  • Sound: Dolby Digital, monaural
  • Language: English
  • Time: 1:51:00
  • Format: DVD
  • Sales rank: 10,531

Cast & Crew

Performance Credits
Charlton Heston Ramon Miguel Vargas
Janet Leigh Susan Vargas
Orson Welles Hank Quinlan
Joseph Calleia Pete Menzies
Akim Tamiroff Uncle Joe Grandi
Joanna Moore Marcia Linnekar
Ray Collins District Attorney Adair
Dennis Weaver Motel Manager
Valentin de Vargas Pancho
Mort Mills Schwartz
Victor Millan Manolo Sanchez
Lalo Rios Risto
Phil Harvey Blaine
Joi Lansing Blonde
Harry Shannon Gould
Rusty Wescoatt Casey
Wayne Taylor Gang Member
Kenny Miller Gang Member
Raymond Rodriguez Gang Member
Arlene McQuade Ginnie
Keenan Wynn Man
Joseph Cotten Detective
Mercedes McCambridge Hoodlum
Marlene Dietrich Tanya
Zsa Zsa Gabor Owner of Nightclub
Technical Credits
Orson Welles Director, Screenwriter
Alexander Golitzen Art Director
John P. Austin Set Decoration/Design
Phil Bowles Asst. Director
Leslie I. Carey Sound/Sound Designer
Robert Clatworthy Art Director
Russell A. Gausman Set Decoration/Design
Joseph E. Gershenson Musical Direction/Supervision
Philip H. Lathrop Camera Operator
Henry Mancini Score Composer
Russell Metty Cinematographer
Aaron Stell Editor
Bill Thomas Costumes/Costume Designer
Virgil Vogel Editor
Bud Westmore Makeup
Frank H. Wilkinson Sound/Sound Designer
Albert Zugsmith Producer
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Scene Index

Side #1
0. Chapters
1. Prologue [:47]
2. A Murder In Mexico [7:17]
3. Grandi's Message [7:56]
4. Tanya [7:04]
5. Who's The Boss? [4:22]
6. Following Vargas [4:29]
7. The Mirador Motel [3:44]
8. The Boyfriend [11:37]
9. The Evidence [6:43]
10. The New Managers [2:48]
11. Partners [5:33]
12. The Cop Or The Law? [7:13]
13. The Assault [10:22]
14. Quinlan's Setup [14:10]
15. All Used Up [2:26]
16. Echoes Of Guilt [10:09]
17. Some Kind Of A Man [1:13]
18. End Titles [2:40]
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Menu

Side #1
   Languages
   Play
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Customer Reviews

Average Rating 5
( 13 )
Rating Distribution

5 Star

(10)

4 Star

(3)

3 Star

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Sort by: Showing all of 13 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    I Also Recommend:

    Orson Welles and Noir

    Famous for its opening, extended tracking shot in Mexico, and rightly so, "Touch of Evil" is Welles's best film--even better than "Citizen Kane." Not many people will agree with me on that judgment. Though I recognize Welles's virtuoso technical work as director in "Citizen Kane," I find the movie dull and, oddly, lacking in dramatic value. It plays like a carnival sideshow, with Welles the carny huckster presiding over it. I've seen it in its entirety once and have no desire to sit through the whole film again.<BR/><BR/>"Touch of Evil," on the other hand, I can watch many times over and still find it dramatically entertaining. The edgy, over-the-top performances of the actors, especially Welles and Dennis Weaver, the weird camera angles, the looming shadows, and the jazzy beatnik score all afford the film a surreal film-noir appearance. <BR/><BR/>Based on a book by crime writer Whit Masterson, "Touch of Evil" unreels like a lurid thriller, dripping with almost-campy menace. Ludicrous himself with his potbelly and bizarrely affected speech pattern, reminiscent of a parody, Welles yet projects an inimical villainy that informs the entire film. For sure, it's no comedy, but it borders on the absurd, making it that much more exciting dramatically and steeped with angst.<BR/><BR/>--Bryan Cassiday, author of "Fete of Death"

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  • Anonymous

    Posted October 1, 2010

    The Greatest B Movie Ever Made.

    On its face, "Touch of Evil" is a second-rate detective story, with some absurd moments that give it the quality of a horror picture. But beneath the veneer it is a brilliant work of expressionist effects, and containing a tour de force of acting. (What besides tour de force can describe a situation in which the director of a film additionally plays a principal role?) This is film noir at its finest. Stanley Kubrick once said that the first shot of a film should be the most interesting thing the audience sees after entering the theater. Certainly, the astonishing, lengthy one-take opening shot of "Touch of Evil" meets the test. It may be the most dazzling first shot to appear in any film, and Welles complained of having to explain to people how it was done. In addition to its fabulous opening, "Touch of Evil" contains many other brilliant sequences including an extraordinary shot in which the camera dollies back as a group of characters cross a street, tracks them across a hotel lobby, leads them into a cramped elevator, and rides them up five floors until Mexican detective Vargas (Charlton Heston), who has left them in the lobby, reappears at the very moment the elevator door reopens. Welles shoots his story as if it were a nightmare. The isolated-motel sequence prefigures "Psycho": Janet Leigh's sexy Susie Vargas meets a skinny "night man" (Dennis Weaver) who is an infantile sex degenerate. There is also great irony in the fact that the duel between the straight incorruptible Vargas and the tainted, decadent Hank Quinlan (Welles) only ends when Vargas is forced to use Quinlan's dirty tricks to defeat him. Like most of Welles's movies, from "Citizen Kane" to "Chimes at Midnight", "Touch of Evil" deals with loyalty and betrayal between friends. When his idolizing partner Pete Menzies (Joseph Calleia) rejects Quinlan for Vargas, Quinlan correctly feels betrayed by the one man he loves and trusts, and whose adoration he thrives on. One of the best things about "Touch of Evil" is the strange, decaying atmosphere of its night city, a fictional space created by Welles out of bizarre locations in Venice, California. It is a weird world of flashing neon, tawdry hotels and night clubs, crumbling arches, peeling walls, twisting alleys, and everywhere, always, heaps of trash It was essential, therefore, that the accompanying music score by Henry Mancini to the movie not only complimented the action, but actually became part of the film itself. Indeed, Welles and Mancini inserted the music into the plot of the film by having the majority of the score emanate from a screen source, be it a jukebox, a loudspeaker, or a cheap radio. Welles knew the value of music in film, and decided that the music for this film would be different. "What we want is musical color," said Welles, "rather than movement--sustained washes of sound rather than tempestuous, melodramatic, or operatic style of scoring." Mancini delivered and then some. His music is uniformly strong and able to stand on its own merits away from the confines of 24 frames per second--an astounding feat considering the constraints given to Mancini by the director. While "Touch of Evil" may not be as significant as "Citizen Kane", which taught other directors how to tell a story through film, and taught viewers how to watch and listen to a film and get the complete story, but it has imagery that is as startling as anything in "Kane", and identical themes, and is even more entertaining. In fact, it emerges as the most enjoyable of Welles's films. The result? "Touch of Evil" is a masterpiece. [filmfactsman]

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  • Anonymous

    Posted October 1, 2010

    ''A Touch of Genius''

    No matter what standards you equate to film noir, this is of the highest. Along with The Maltese Falcon, The Big Sleep, and Farewell My Lovely you are pulled....no driven to an ending you cannot escape. From it's famous long crane shot to its dark murky watery grave every shot is eerie and threatening. Perhaps the most frightening aspect is it's realistic style. One can't help but feel the dirt, heat and dark, dark danger. All film buffs, not just film noir fans should make this a must to see time and time again. This is the definition of film noir!!

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