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Charlton Heston, Janet Leigh, and restoration producer Rick Schmidlin discuss the reconstruction, which Murch assembled according to Welles 58-page memo (the box includes a reproduction). To Heston, the old credit sequence was "grotesque." As Welles instructed, Murch moved it to the end. About the overhaul, Leigh enthuses, "I'm so grateful that his legacy will now be represented in the proper way." On the second track, Schmidlin offers a more detailed analysis. The package concludes with the trailer and a two-part oral history featuring Heston, Leigh, Murch, and others who helped Welles transform pulp material into a work that, in his own words, could prove to be "irresistibly interesting." --Kathleen C. Fennessy
I'd like a dollar for every idiot who comments, "He's not looking too good in this film".
Although critics are always eager to mention Citizen Kane as Welles' greatest film (or indeed the best film ever made), this movie is much more enjoyable.
Touch of Evil is probably the finest example of the film noir genre, and Welles' camera angles emphasize the sinister aspects of everyone and everything.
I'm sorry but I prefer the studio version of TOUCH OF EVIL, especially the music over the opening shot. Read morePublished 9 hours ago by Frank P. Tomasulo
Charlton Heston and Orson Welles are at their best in this movie.Published 1 month ago by Sharon Aceto
Orson Welles is fat and smarmy. Great to see Chuck doing something besides part the red sea,Published 1 month ago by William S. Maley
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|Still the wrong aspect ratio||
Yes, I ordered this new 3-version edition hoping that at least the old studio version (which I loved and grew up watching on VHS) would be presented in the correct aspect ratio for DVD. It's ironic that this new package with all it's bells and whistles refused to present it back in the correct... Read More
Oct 11, 2008 by mashtato | See all 2 posts