Touch Of Evil (50th Anniversary Edition) |  | Director: Orson Welles
Actors: Charlton Heston, Janet Leigh, Orson Welles, Marlene Dietrich, Mercedes McCambridge
Studio: Universal Studios
List Price: $26.98
Buy New: $18.98
as of 9/4/2010 12:49 CDT details
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New (31) from $18.98
Rating:  175 reviews
Sales Rank: 11,577
Format: Black & White, Dolby, DVD, Restored, Subtitled, Widescreen, NTSC
Language: English (Original Language)
Rating: PG-13 (Parental Guidance Suggested)
Region: 1
Discs: 2
Aspect Ratio: 1.85:1
Running Time: 95 Minutes
Shipping Weight (lbs): 0.6
Dimensions (in): 7.6 x 5.4 x 0.9
MPN: 025195027809
UPC: 025195027809
EAN: 0025195027809
ASIN: B001CC7PQ2
Theatrical Release Date: 1958
Release Date: October 7, 2008
Availability: Usually ships in 1-2 business days
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Product Description
In a bustling border town, a Mexican narcotics agent on his honeymoon investigates a car bombing to find a tangled web of corruption.
Amazon.com
Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles's film noir masterpiece Touch of Evil was, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles's original vision was meticulously followed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles's directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles's control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberance of the dazzling directorial style. --Jeff Shannon
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| Customer Reviews:
Showing reviews 1-5 of 175
 Welles's greatest suspense thriller August 25, 2010
Michael A Neulander (VA)
Orson Welles' 1958 film-noir "Touch of Evil" is one of Welles's greatest works. Besides directing, he wrote the screenplay and co-stared in this great suspense thriller. This movie has a top notch cast, especially with Charlton Heston in an unusually "dark" role for his screen career. I am impressed with how much Welles "stretched" Heston for this movie, it is a pleasure to see what a great director can get out of a great actor; too often big egos do not mix well! The other great facts that make this one of Welles's masterpieces is that the movie opens with a three-minute, thirty second continuous tracking shot widely considered by critics to be one of the greatest long takes in cinematic history. The suspense is built up slowly and methodically with the ticking of a time bomb in the background. In addition the film score by Henry Mancini which provides haunting tones throughout the movie add much to its ultimate success.
The interesting story of how Welles was hired to direct the movie by Universal after his "exile" from Hollywood goes as follows. Welles had recently worked with producer Albert Zugsmith, known as the "King of the Bs", on a film called "Man in the Shadow" and was interested in directing something for him. Zugsmith offered him a pile of scripts, of which Welles asked for the worst to prove he could make a great film out of a bad script. At the time, the script was called "Badge of Evil," after a Whit Masterson novel on which it was based. Welles did a rewrite and took it into production. After a decade in Europe during which he completed only a few films, Welles was eager to direct for Hollywood again, so he agreed to take only an acting fee for the role of Quinlan.
Welles wrapped production on time, delivered a rough cut to Universal, and was convinced that his Hollywood career was back on the rails. Sadly however, the film was then re-edited (and in part re-shot) by Universal International pictures. The editing process was protracted and disputed, and the version eventually released was not the film Universal or Welles had hoped for. It was released as a B-movie; thus, Welles's film was given little publicity despite the many stars in the cast. Though it had little commercial success in the US, it was well-received in Europe, particularly by critics like future filmmaker François Truffaut. Even as originally released, it was a film of power and impact. It was placed #64 on American Film Institute's 100 Years, 100 Thrills list.
Three versions of the film have been released:
1. The original 1958 release version
2. A longer version, released in 1976
3. A 1998 restored version that attempted to follow Welles's 1958
memo as closely as possible. This is the version to see!!!
Welles's rough cut as submitted to Universal no longer exists. This was worked on and trimmed down by Universal staff, and in late 1957 Universal decided to perform some reshoots. Welles claimed these were done without his knowledge, but Universal claimed that Welles ignored their requests to return and undertake further work. This was when Keller came aboard: some of his material was entirely new, some replaced Welles scenes. Welles viewed the new cut and wrote a 58-page memo to Universal's head of production, Edward Muhl, detailing what he thought needed to be done to make the film work. However, many of his suggestions went unheeded and "Touch of Evil" was eventually released in a version running 93 minutes.
Plot Summary:
An automobile is blown up as it crosses the Mexican border into the United States. Mike Vargas (Charlton Heston), a high ranking Mexican narcotics official on honeymoon with his bride Susie (Janet Leigh) is drawn into the investigation because a Mexican national has been accused of the crime. Vargas embroils himself in the investigation, putting his wife in harm's way. After Vargas catches The figurative and physical presence of idolized ex-alcoholic American Police Captain Hank Quinlan (Orson Welles) planting evidence against a Mexican national suspected in the bombing. Quinlan's reputation for law and order enables him to bend the law without question until Vargas confronts him. Quinlan joins forces with the Grandi family (Akim Tamiroff), to impugn Vargas's character. Local political lackeys, a hard-edged whore (Marlene Dietrich),who is a former lover of Quinlan's, and a nervous motel clerk also figure in the plot.
From that point on, it's a battle of wits between Vargas and Quinlan, with an accelerating pace, that rushes to a climax.
A revelation May 23, 2010
Robert N. Shields (Los Angeles)
This has been one of my favorite movies since I saw it, as a 15-year-old kid, at the RKO Theater in New Rochelle, NY, when it was originally released. It was the first time I remember being aware of the Director of a movie I was watching in that when "Directed by Orson Welles" came on the screen, my reaction was "But he's IN it." I dug it from the opening shot. (Who knew it would turn out to be one of the most controversial sequences in film history?) Over the years, I would check it out and turn friends on to it. So, my senses were blown out when I saw this version. This is no "Director's Cut with added footage" rip-off. This is, at long last, an opportunity to see a masterpiece. Scenes have truly been restored, rather than added. The credits no longer run over the breathtaking opening sequence AND we are seeing the originals of scenes which, for some misguided reasons, had lesser versions in the original release. Essential viewing, profound filmmaking and one of the most entertaining movies of all time.
 Unwatchable April 5, 2010
Cary B. Barad (Baltimore, MD)
1 out of 10 found this review helpful
Filmed mostly at night which renders most scenes dimly lit and extremely hard to see. Additionally, the plot itself is compromised by a jumble of farfetched characters who are difficult to decipher. Are they caricatures, comedic portrayals or something deeper and more sinister? Had to turn it off well before the end.
For Welles fans only March 7, 2010
R. Swanson (New Mexico)
0 out of 14 found this review helpful
I love films noir and several of Welles' earlier films. This one is so bad that I was shocked at the huge number of positive reviews.I can only conclude that many, many people are so impressed by a director's reputation that they cannot allow themselves to see the obvious flaws here. I have to wonder if these same people had never heard of Orson Welles or this film, if they would still praise it. I've seen much better films than this which were almost ignored because the director had not made a big name for himself.
Well, I will give the film one star, for the brief appearance of Marlene Dietrich, who was fascinating in her first scene. However, even her dour charm had dimmed by the final shot.
There is so much self-conscious artiness in this film, with such disregard for plot, that it just fails to interest anyone, except perhaps beginning film students who are enamored of his craft and all of the previously-mentioned Welles' fanatics.
Welles was a marvelous actor in his day and there are some moments here where you can see the talent. But as the Dietrich character, a ridiculous Mexican fortune teller, says, he's had too many candy bars.
Charlton Heston is embarassing as a Mexican; no amount of make up can make up for his wooden Waspiness. Janet Leigh is, well, Janet Leigh; she looks good in a tight sweater and that's about all she's called to do. Poor Dennis Weaver gives an over-the-top performance that is almost as pathetic as his character.
The plot is ok, I guess, and there are a lot of cool, really dark and moody scenes. Some are throwbacks to The Third Man, but where they were genuinelly terrifying in that movie, here they just remind you of how great Welles' earlier films were.
Mostly, a very basic flaw---the characters are not engaging. They are not believable. We have to care about them in order to maintain our interest throughout their ordeals, and that just never happened. Too bad. As another reviewer said, the downfall of the cop, played by Welles, sadly parallels his own life.
Touch of Evil February 16, 2010
R. Corbett (Fort Myers Fl.)
0 out of 3 found this review helpful
For any true lover of Film noir, this is the ultimate addition to any collection. Super fast shipping time
Showing reviews 1-5 of 175
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