|Touch of Evil|
Theatrical release poster
|Directed by||Orson Welles|
|Produced by||Albert Zugsmith|
|Screenplay by||Orson Welles|
|Based on|| Badge of Evil |
by Whit Masterson
|Music by||Henry Mancini|
|111 minutes (1998 version)|
|Box office||$2.2 million |
1,232,534 admissions (France)
Touch of Evil is a 1958 American film noir written, directed by and co-starring Orson Welles. The screenplay was loosely based on the novel Badge of Evil by Whit Masterson. Along with Welles, the cast includes Charlton Heston, Janet Leigh, Joseph Calleia, Akim Tamiroff and Marlene Dietrich.
Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. Hollywood's classical film noir period is generally regarded as extending from the early 1920s to the late 1950s. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.
George Orson Welles was an American actor, director, writer and producer who is remembered for his innovative work in radio, theatre and film. He is considered one of the greatest film directors of all time.
Badge of Evil is a novel written by Whit Masterson and published in 1956. This novel was the basis for the 1958 movie Touch of Evil, directed by Orson Welles and co-starring Charlton Heston and Janet Leigh.
One of the last examples of film noir in the genre's classic period,its reputation has grown since its release, and it is now widely regarded as one of Welles's best motion pictures and one of the best classic-era films noir.
In 1993, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
The National Film Registry (NFR) is the United States National Film Preservation Board's (NFPB) selection of films deserving of preservation. The NFPB, established by the National Film Preservation Act of 1988, was reauthorized by acts of Congress in 1992, 1996, 2005, and again in October 2008. The NFPB's mission, to which the NFR contributes, is to ensure the survival, conservation, and increased public availability of America's film heritage. The 1996 law also created the non-profit National Film Preservation Foundation which, although affiliated with the NFPB, raises money from the private sector.
The Library of Congress (LOC) is the research library that officially serves the United States Congress and is the de facto national library of the United States. It is the oldest federal cultural institution in the United States. The library is housed in three buildings on Capitol Hill in Washington, D.C.; it also maintains the National Audio-Visual Conservation Center in Culpeper, Virginia. The library's functions are overseen by the librarian of Congress, and its buildings are maintained by the architect of the Capitol. The Library of Congress claims to be the largest library in the world. Its "collections are universal, not limited by subject, format, or national boundary, and include research materials from all parts of the world and in more than 450 languages."
In a Mexican town along the U.S.–Mexico border, a time bomb is planted in a car. Rudy Linnekar (Jeffrey Green) and Zita (Joi Lansing) enter the vehicle and make a slow journey through town to the U.S. border, during which Zita insists that she can hear something ticking. Newlyweds Miguel "Mike" Vargas (Charlton Heston), a drug enforcement official in the Mexican government, and his wife Susie (Janet Leigh) pass the car several times on foot. The car crosses the border, then explodes.
Joi Lansing was an American model, film and television actress, and nightclub singer. She was noted for her pin-up photos and roles in B-movies, as well as a prominent role in the famous opening "tracking shot" in Orson Welles' 1958 crime drama Touch of Evil.
Charlton Heston was an American actor and political activist.
Janet Leigh was an American actress, singer, dancer, and author. Raised in Stockton, California, by working-class parents, Leigh was discovered at age eighteen by actress Norma Shearer, who helped her secure a contract with Metro-Goldwyn-Mayer. Leigh had her first formal foray into acting appearing in radio programs before making her film debut in The Romance of Rosy Ridge (1947).
Realizing the implications of a Mexican bomb exploding on American soil, Vargas takes an interest in the investigation. Police Chief Pete Gould (Harry Shannon) and District Attorney Adair (Ray Collins) arrive on the scene, followed by the game-legged police captain Hank Quinlan (Orson Welles) and Quinlan's longtime partner, Pete Menzies (Joseph Calleia)—who clearly worships Quinlan. The obese and disheveled Captain nostalgically visits a brothel run by Tanya (Marlene Dietrich), who barely recognizes him because he's gained so much weight.
Harry Shannon was an American character actor. He often appeared in Western films.
Ray Bidwell Collins was an American character actor in stock and Broadway theatre, radio, films, and television. With 900 stage roles to his credit, he became one of the most successful actors in the developing field of radio drama. A friend and associate of Orson Welles for many years, Collins went to Hollywood with the Mercury Theatre company and made his feature-film debut in Citizen Kane (1941), as Kane's ruthless political rival. Collins appeared in more than 75 films and had one of his best-remembered roles on television, as the irascible Lieutenant Arthur Tragg on the television series Perry Mason.
Joseph Calleia was a Maltese-born American actor and singer on the stage and in films, radio and television.
Quinlan's and Menzies' prime suspect is Sanchez, a young Mexican secretly married to the victim's daughter (Joanna Moore). They interrogate Sanchez in his apartment with Vargas present. Vargas visits the bathroom and accidentally knocks over an empty shoebox. Moments later, Menzies enters the bathroom and announces that two sticks of dynamite were found in the same shoebox. Vargas accuses Quinlan of planting the evidence and begins to suspect that he may have been doing so for years, to help win convictions. Quinlan dismisses Vargas's claim, saying he is just biased in favor of fellow Mexicans. The stress of these accusations, along with pressure from "Uncle" Joe Grandi (Akim Tamiroff), the brother of a man Vargas has been investigating, to strike a deal to discredit Vargas, causes Quinlan—who has been sober for 12 years—to fall off the wagon. With assistance from District Attorney's Assistant Al Schwartz (Mort Mills), Vargas studies the public records on Quinlan's previous cases, revealing his findings to Gould and Adair. Quinlan arrives in time to overhear the discussion and angrily threatens to resign.
Joanna Moore was an American film and television actress. Over the course of her career, she appeared in more than eighty television and film roles.
Akim Mikhailovich Tamiroff was an Armenian-American actor. He won the first Golden Globe Award for Best Supporting Actor, was nominated twice for the Academy Award for Best Supporting Actor, and appeared in at least 80 American motion pictures in a career spanning thirty-seven years.
Mort Mills was an American film and television actor who had roles in over 200 movies and television episodes. He was often the town lawman or the local bad guy in many popular westerns of the 1950s and 1960s. From 1957–1959 he had a recurring co-starring role as Marshal Frank Tallman in Man Without a Gun. Other recurring roles were as Sergeant Ben Landro in the Perry Mason series and Sheriff Fred Madden in The Big Valley. In 1958, he guest starred as a particularly greedy bounty hunter who clashes with Steve McQueen's character of Josh Randall in the CBS western series, Wanted: Dead or Alive.
Susie Vargas moves from her Mexican hotel to a remote American motel to escape the unwanted attention of Grandi. The motel, which Menzies recommended to her, has no other guests and is staffed only by a very peculiar night manager (Dennis Weaver), and, unknown to Susie, is owned by Grandi himself. Grandi's family members take over the motel and terrorize Susie. Vargas becomes concerned when his attempts to telephone Susie at the motel are blocked. Quinlan conspires with Grandi, arranging for Susie to be knocked unconscious, kidnapped, and made to look like she had overdosed on drugs by placing drugs around her unconscious body. Quinlan then double-crosses Grandi, strangles him, and leaves Susie, still unconscious, in the room with Grandi's body, all in order to discredit Vargas. However, exhausted, drunk, and shaken from killing Grandi, Quinlan carelessly leaves his cane at the scene of the murder, implicating himself. When Susie wakes up, she sees Grandi's dead body, screams for help, and is arrested on suspicion of murder.
Vargas confronts Menzies about the history of evidence "discovered" by Quinlan. When he goes to Susie's motel, but cannot find her, Vargas learns the motel is owned by Grandi, and that his handgun has been stolen. He rushes back to town and enters a bar, where he confronts the gang members who attacked his wife. When they refuse to answer his questions, Vargas violently beats them down, destroying the bar in the process. Schwartz then informs a shocked Vargas that Susie has been arrested for murder. At the lockup, Vargas finds her barely conscious. Menzies reveals to Vargas that he discovered Quinlan's cane at the murder scene. Vargas fits Menzies with a wire. Quinlan is at Tanya's brothel, where he asks her to use her tarot cards to tell his future; she tells him that he has no future. A loud player piano prevents recording, so Menzies lures Quinlan out to "talk". They walk to a nearby oil field while being tracked on foot by Vargas, who is carrying a recorder and taping the conversation.
Quinlan admits to Menzies that he planted evidence on people, but insists that he did so only because he knew they were guilty. Quinlan hears an echo from the secret microphone and says his "game leg" has informed him of Menzies' betrayal. Quinlan demands that Vargas show himself. Quinlan then shoots Menzies with Vargas's gun, which he had earlier stolen from Vargas's briefcase. Quinlan prepares to shoot Vargas (saying that he can claim Vargas was resisting arrest) but is, instead, shot by the dying Menzies. Quinlan staggers backwards into a filthy pool of wastewater and dies. Schwartz arrives at the scene and tells Vargas that the planted dynamite was unnecessary because Sanchez confessed to the crime. Vargas is reunited with Susie, having been exonerated from prison after evidence of Quinlan's confession was found. Tanya finds Quinlan in the wastewater and is asked by Schwartz about what she has to say about Quinlan. Tanya replies, "He was some kind of a man. What does it matter what you say about people?" Tanya then walks away as the movie ends.
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There are two stories about how Welles ended up directing Touch of Evil. Charlton Heston recalled that Welles was originally hired to act in the film only, not to direct or write. Universal was keen to secure Heston for the lead, but he wanted the studio to confirm the director before he signed on. After learning that Welles was in the cast, Heston expressed his greater interest in starring if Welles were directing.
The other story is that 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.
A number of notable actors pop up in roles. Dennis Weaver plays a night clerk at a motel; Heston liked Weaver and his film acting work. Zsa Zsa Gabor, who appears briefly as the impresario of a strip club, was a friend of the producer. Joseph Calleia portrays Quinlan's betrayed partner. Many of the actors worked for lower wages just to make a film with Welles. Marlene Dietrich's role was a surprise to the producers and they raised her fee so they could advertise her involvement. Welles's friend and Mercury Theatre colleague Joseph Cotten appears uncredited as a coroner.
Janet Leigh recalled how Welles asked for input from the actors in the cast:
It started with rehearsals. We rehearsed two weeks prior to shooting, which was unusual. We rewrote most of the dialogue, all of us, which was also unusual, and Mr. Welles always wanted our input. It was a collective effort, and there was such a surge of participation, of creativity, of energy. You could feel the pulse growing as we rehearsed. You felt you were inventing something as you went along. Mr. Welles wanted to seize every moment. He didn't want one bland moment. He made you feel you were involved in a wonderful event that was happening before your eyes.
Welles wrapped production on time, delivered a rough cut to Universal, and was convinced that his Hollywood career was back on the rails. 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, the lower half of a double feature. The A-movie was The Female Animal , starring Hedy Lamarr, produced by Albert Zugsmith and directed by Harry Keller, whom the studio had hired to direct the re-shot material in Touch of Evil. The two films even had the same cameraman, Russell Metty. Welles's film was given little publicity despite the many stars in the cast. Though it had little commercial success in the US (Welles himself claimed that the movie turned a good profit but other records disputed his claim), it was well received in Europe, particularly by critics like future filmmaker François Truffaut.
The film opens with a single uninterrupted tracking shot lasting three minutes and twenty seconds; it is widely considered by critics as one of the greatest long takes in cinema history.
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Three versions of the film have been released:
Welles's rough cut as submitted to Universal no longer exists. That cut 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 the studio's requests to return and undertake further work. It was at this point that Keller came aboard: some of his material was entirely new, others replaced Welles's scenes. Welles screened 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.
A 1957 Variety review of the movie starts, "Touch of Evil smacks of brilliance but ultimately flounders in it."
In the mid-1970s, Universal discovered that it held a 108-minute print of Touch of Evil in its archives. Aware that there was a growing audience of cineastes with a strong interest in Welles's work, the studio released this version to cinemas in 1976 and later issued it on video, billing it as "complete, uncut and restored". In fact, this print was not a restoration at all, but a preview version which post-dated the Welles memo but pre-dated the release version. While it did feature some vital Welles scenes that Universal cut from the release version, the preview version also featured more of Keller's material than the release version.
In 1998, Walter Murch, working from all available material, re-edited the film based on the Welles memo, with Rick Schmidlin who produced the re-edit and with the help of Bob O'Neil, Universal's director of film restoration, and Bill Varney, Universal's Vice President of Sound Operations, participating in the restoration.As Welles's rough cut no longer exists, no true "director's cut" is possible, but Murch was able to assemble a version incorporating most of the existing material, omitting some of the Keller scenes (though some were retained, either because they had replaced Welles scenes which no longer existed and were necessary to the plot, or because Welles had approved of their inclusion). In addition, some of Welles's complaints concerned subtle sound and editing choices, and Murch re-edited the material accordingly. Notable changes include the removal of the credits and Henry Mancini's music from the opening sequence, cross-cutting between the main story and Janet Leigh's subplot, and the removal of Harry Keller's hotel lobby scene. Rick Schmidlin produced the 1998 edit, which had a limited but successful theatrical release (again by Universal) and was subsequently made available on DVD. The DVD includes an on-screen reproduction of the 58-page memo.
Originally scheduled to be premiered at the 1998 Cannes Film Festival with Janet Leigh, Walter Murch and Rick Schmidlin attending, the screening was canceled at the eleventh hour after threats of litigation from Welles's daughter, Beatrice Welles. Her suit against Universal, for not consulting her or obtaining her consent prior to the reworking of Touch of Evil, was settled out of court.Welles later said she had only asked Universal to inform her on what was being done, and when she was ignored she told the Cannes Festival that the restoration was not sanctioned by the Welles Estate. "I saw it later and it was wonderful," she said. "I thought they did an amazing job and it was very well done. It was what he wanted and it made much more sense than that chopped up nightmare there was before. It was fine and it was his. If they had told me that from the very beginning, none of that would have happened."
The movie was first released on Blu-ray in 2011 in the UK by Eureka Entertainment (under licence from Universal) as part of their Masters of Cinema series. This release collected all three available versions, but in addition to that the theatrical and reconstruction versions include an alternate 1.37:1 ratio opposed to the original 1.85:1 aspect ratio (which is also included for both versions).Eventually in the US, all three versions (in only their 1.85:1 aspect ratio) were released on Blu-ray by Universal in 2014, with a remastered transfer and with a limited edition version including a booklet of the original 58-page memo. A more commercially available version was released a year later in 2015.
Although Universal Pictures did its best to prevent Touch of Evil from being selected for the 1958 Brussels World Film Festival—part of the Expo 58 world's fair—the film received its European premiere and Welles was invited to attend. To his astonishment,Welles collected the two top awards. Touch of Evil received the International Critics Prize, and Welles was recognized for his body of work.
Touch of Evil was placed #64 on American Film Institute's "100 Years, 100 Thrills" list in 2001.
Roger Ebert added Touch of Evil to his Great Movies list in 1998.He praised the lead and supporting actors, and argued that the cinematography was "not simply showing off" but rather was used to add depth to the complex plot by showing interpersonal connections and "trapping [the characters] in the same shots". Ebert also speculated Welles's role was semi-autobiographical, describing his Quinlan character as nursing old feuds and demonstrating an obsessive desire for control that arguably parallels Welles's life and career.
In the Greatest Films of All Time poll conducted by Sight & Sound in 2012 the film was placed #26 and #57 by the directors and the critics respectively.
The 1998 re-edit received awards from the New York Film Critics Circle, the Los Angeles Film Critics Association and National Society of Film Critics.[ citation needed ]
Walter Scott Murch is an American film editor, director and sound designer. With a career stretching back to 1969, including work on Apocalypse Now, The Godfather I, II, and III, American Graffiti, The Conversation, and The English Patient, with three Academy Award wins, he has been referred to by Roger Ebert as "the most respected film editor and sound designer in the modern cinema."
The Stranger is a 1946 American film noir film starring Edward G. Robinson, Loretta Young, and Orson Welles. It is Welles's third completed feature film as director and his first film noir, about a war crimes investigator tracking a high-ranking Nazi fugitive to a Connecticut town. It is the first Hollywood film to present documentary footage of the Holocaust. The original story by Victor Trivas was nominated for an Academy Award. The film entered the public domain when its copyright was not renewed.
Jonathan Rosenbaum is an American film critic. Rosenbaum was the head film critic for the Chicago Reader from 1987 until 2008, when he retired at the age of 65. He has published and edited numerous books and has contributed to some of the world's most notable film publications, including Cahiers du cinéma and Film Comment.
Oja Kodar is a Croatian actress, screenwriter and director best known as Orson Welles's partner during the latter years of his life.
Othello is a 1951 tragedy film directed and produced by Orson Welles, who also adapted the Shakespearean play and played the title role. Recipient of the Grand Prix du Festival International du Film at the 1952 Cannes Film Festival, the film was distributed by United Artists when it was released in the United States in 1955. Othello was filmed on location over a three-year period in Morocco, Venice, Tuscany and Rome and at the Scalera Studios in Rome.
Rick Schmidlin is a film preservationist and silent film scholar, and a producer-director whose work has focused on restorations, reconstructions and documentaries. Until 2010, he taught for the University of British Columbia in the School of Library, Archival, and Information Studies as an adjunct faculty member. As of 2018 Schmidlin is the house manager and programer of the restored Queen Theatre in Bryan,Texas.
Apocalypse Now Redux is a 2001 extended version of Francis Ford Coppola's epic war film Apocalypse Now, which was originally released in 1979. Coppola, along with editor/longtime collaborator Walter Murch, added 49 minutes of material that had been removed from the original film. It represents a significant re-edit of the original version.
In cinematography, a low-angle shot, is a shot from a camera angle positioned low on the vertical axis, anywhere below the eye line, looking up. Sometimes, it is even directly below the subject's feet. Psychologically, the effect of the low-angle shot is that it makes the subject look strong and powerful.
The Other Side of the Wind is an American experimental film directed, co-written, co-produced and co-edited by Orson Welles, released in 2018 after more than forty years in development. It stars John Huston, Bob Random, Peter Bogdanovich, Susan Strasberg and Oja Kodar. Shooting began in 1970 in what Welles intended to be his Hollywood comeback, and resumed on-and-off until 1976. Welles continued to intermittently work on the project into the 1980s, but it became embroiled in legal, financial, and political complications which prevented it from being completed.
Albert Zugsmith was an American film producer, film director and screenwriter who specialized in low-budget exploitation films through the 1950s and 1960s.
This is Orson Welles is a 1992 book by Orson Welles (1915–1985) and Peter Bogdanovich that comprises conversations between the two filmmakers recorded over several years, beginning in 1969. The wide-ranging volume encompasses Welles's life and his own stage, radio and film work as well as his insights on the work of others. The interview book was transcribed by Bogdanovich after Welles's death, at the request of Welles's longtime companion and professional collaborator, Oja Kodar. Welles considered the book his autobiography.
Don Quixote is an unfinished film project written, co-produced and directed by Orson Welles. Principal photography took place between 1957 and 1969. Test footage was filmed as early as 1955, second-unit photography was done as late as 1972, and Welles was working on the film intermittently until his death in 1985. The film was eventually edited by Jesús Franco and was released in 1992. It did not include all the footage shot for the film and received mixed reviews.
The Deep is an unfinished film directed by Orson Welles, based on Charles Williams' novel Dead Calm (1963), which was later adapted as an eponymous 1989 film. Welles produced and wrote The Deep, as well as played the role of Russ Brewer opposite Jeanne Moreau and Laurence Harvey.
Virgil William Vogel was an American television and film director. His career spanned nearly sixty years directing episodes of Wagon Train, Bonanza, The Big Valley, and Mission: Impossible, among other series. He was earlier a film editor.
Harold William "Bill" Varney was an American motion picture sound mixer. A two-time Academy Award winner, Varney shared the Academy Award for Best Sound Mixing for Star Wars: Episode V - The Empire Strikes Back in 1980 and Raiders of the Lost Ark in 1981. Varney also received Academy Award for Best Sound Mixing nominations his collaborative sound mixing on Dune in 1984 and Back to the Future in 1985.
Harry Keller was an American film editor, producer and director, who made a number of westerns and worked for many years at Universal Pictures. He is perhaps best remembered today for shooting additional footage on Touch of Evil (1958).
Aaron Stell was an American film editor with one hundred feature film credits and many additional credits for his television work. Stell worked for more than a decade at the start of his career at Columbia Pictures, which was a major Hollywood studio in that era. Among his most noted films are Touch of Evil, To Kill a Mockingbird, and Silent Running.
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