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Touch of Evil (Restored to Orson Welles' Vision)
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Aspect Ratio: 1.85:1
Audience Rating: Unrated
Binding: DVD
EAN: 9786305999874
Format: Black & White, Color, Dolby, DVD-Video, Subtitled, Widescreen, NTSC
ISBN: 6305999872
Label: Universal Studios
Languages: English (Original Language), Dolby Digital 2.0 MonoEnglish (Subtitled), French (Subtitled), Spanish (Subtitled),
Manufacturer: Universal Studios
MPN: D20470D
Number Of Items: 1
Picture Format: Anamorphic Widescreen
Publisher: Universal Studios
Region Code: 1
Release Date: October 31, 2000
Running Time: 111 minutes
Studio: Universal Studios
Theatrical Release Date: 1958
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Editorial Review:
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
Customer Reviews
Average Rating: 
Rating:  - Technically Great, But Lacking Citizen Kane's Insights Into Human Nature
This is breath-takingly good, particularly the famous opening shot of the car bomb, Heston's performance, and great supporting work by Dietrich and Weaver. I find Wells' acting to be a bit overdone in the role as the "heavy" (in more ways than one).
I was disappointed, however, in the failure of the film to explore the amibguities of human nature and to offer the insight into human nature that Citizen Kane does. I don't agree with commentators who would put "Touch of Evil" in the ... Read More
Rating: - Expressionistic extravaganza in the border town of darkness
Watch Video Here: http://www.amazon.com/review/R6WFYBIDQ4OHZ I'm a hard-boiled DVD tough guy and I comment on the most intriguing aspects of Orson Welles' Touch of Evil. I'm Falcux and this is my case.
Rating: - Orson would be pleased!
"A TOUCH OF EVIL," I have to say, is one of my favorite films. This edition is as Orson Welles had wanted to release it in theaters. The opening scene is shot by a follow crane camera, that doesn't make any cuts. It just continues through the opening scene. In the theatrical release, the movie titles were on the screen, covering up this great scene. Yes, it is black & white. I wouldn't want to see it in color. Orson directed and starred in it. Charlton Heston (now with alzheimer's disease), and ... Read More
Rating:  - Parts Greater Than the Whole
In terms of performance, this film is much less ambitious than Welles' other work, particularly the choice of Heston to play Vargas; yet, the camerawork and frame compositions are as staggering as one would expect. Unfortunately, this leads to a case of the parts being greater than the whole, as there's a reason most people have only heard about this film's opening sequence. (8/10)
Rating: - Welles' True Masterwork
In most film noirs, the lead character is a basically good young man, who's fallen upon hard times. All around our tragic hero lies treachery, often disguised as salvation. Yet, because of a fatal flaw, our hero is blind to the treachery of those around him -- whether a blonde femme fatale or a backstabbing "friend" -- and to the hero's own capacity for evil. This archetype is best personified by Fred MacMurray as the insurance man gone bad in "Double Indemnity" (1944) and Robert Mitchum's private-eye ... Read More
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