Orson Welles - Touch of Evil

Ostensibly, this piece, written as the BFI marks the release of the Workman documentary on Welles and a series of his films, is about Touch of Evil, but it's really about Welles' larger body of work, especially the later stuff. Can't say I wholly agree with the comments about his acting - I don't find him stagey in the Olivier manner, but kind of downbeat stagey. I think he underplays a lot earlier in his career but does so in a larger than life manner in the later films - but it's an interesting and often personal appreciation and I love Welles' movies and the mystique he created, so I've cheekily re-blogged it here:

http://fridaynightboys300.blogspot.co.uk/2015/07/orson-welles-and-touch-of-evil.html

 

Just got the limited edition blu ray today. It has 3 versions, I'm just now going to watch the original theatrical version as that is the one I'm most familiar with.

First few minutes impression, OMG.... this blu ray looks amazing, the clarity and B&W look stunning....but now...... I MUST......... watch the movie. Yes, I must.


More to follow. I'm on the edge of my seat!!!!!!!!!!

 

We had to study this movie in film class (and Kane). I still like Kane better.

 

By a country mile. I actually sort of dislike watching A Touch of Evil. I know that is sacrilege as they seem to be instilling its supposed brilliance in film students, but every time I watch it I feel like it's a failed attempt at being "The Third Man," overripe with "memorable" characters, notably bad among them a Mexican Charlton Heston, Dennis Weaver's supremely annoying performance, and Welles himself chewing cigars and scenery. I don't care how long the opening tracking shot is, the rest of the movie is misshapen and unmemorable. It's like the second half of "A Lady From Shanghai" which, after a wonderful beginning (and of course a classic ending) becomes cloying with Welles' overplayed freakshow characters like Grimsby. The only fun character in "A Touch of Evil" is the Mexican gangster who pulls off being likeable in the same way that the characters in "The Third Man" are grotesque yet beautiful at the same time. And the Great White Loudmouthed Victim Janet Leigh is barely tolerable running around acting indignant at full pitch for the whole movie.

 

Touch of Evil is such a great film. I've got the DVD, image quality is just fine. Everything in 'Evil' looks and feels corrupted—Tana seeing Quinlan, not recognizing him, a wonderfully understated scene that pulls the rug from underneath your feet. Interesting how much of Welles real work managed to get lost or deliberately destroyed.

 

The re-edit vastly improves Touch of Evil. Obviously the big debate is the opening of the film. I think I agree with Orson.....Mancini's music is intrusive for the opening.
Amazing fact is Orson only met Mancini once. It was Mancini's first score.

 

One thing I always laugh about in Touch of Evil is that it's a rare 1950s movie that uses a wireless microphone as a prop! In fact, it's a key plot device for the end of the film, trapping the corrupt cop (Welles). That opening shot is absolutely amazing, but I agree with Chadbang: the rest of the movie is kind of a comedown after that. Some good stuff here and there, but with some stretches of dullness.

 

I like Touch of Evil's over-the-topness. A very entertaining film and beautifully shot.
Citizen Kane is also beautiful, but dull. And the whole Rosebud thing was very predictable. Almost as obvious as Bruce Willis being dead.