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308 of 326 people found the following review helpful
5.0 out of 5 stars Buy this, even if you've already seen this film 20 times!
Generally considered as the ultimate Film Noir (and the last film of the genre), TOUCH OF EVIL is certainly one of the most macabre, bizarre poignant films ever produced in Hollywood. The director Orson Welles is of course the man who made CITIZEN CANE, but many Welles affectionados such as Peter Bogdanovich actually consider TOUCH OF EVIL better than KANE; as a matter of...
Published on November 20, 2000 by Toshifumi Fujiwara

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48 of 59 people found the following review helpful
1.0 out of 5 stars FALSE WIDESCREEN!
It breaks my heart to say this but do NOT buy this dvd. If you are curious to see this great film you would be better served purchasing the VHS cassette! I stumbled on one false widescreen movie before(Reservoir Dogs vhs tape) and to my disgust found this ... DVD to be just as phoney as that one. I have visual proof because I bought the VHS tape which ispresented in...
Published on August 2, 2002


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308 of 326 people found the following review helpful
5.0 out of 5 stars Buy this, even if you've already seen this film 20 times!, November 20, 2000
Generally considered as the ultimate Film Noir (and the last film of the genre), TOUCH OF EVIL is certainly one of the most macabre, bizarre poignant films ever produced in Hollywood. The director Orson Welles is of course the man who made CITIZEN CANE, but many Welles affectionados such as Peter Bogdanovich actually consider TOUCH OF EVIL better than KANE; as a matter of fact the best film Welles has ever directed.
Welles' bravula mise en scene, with the help of Russel Metty's startling black-and-white lighting and stunning camera movement, transform Venice, California into a chaotic frontier town between the US and Mexico. Charlton Heston, often refereed to as the most wooden actor in American cinema, gives a performance of his life as a Mexican cop. His casting may sound funny, but please forget that it's the same guy who played BEN HUR and Moses in the TEN COMMANDMENTS watching this movie then his highly energetic, rather over-the-top performance is actually convincing, especially as opposed to Welles' deliciously vicious portrayal of a corrupted American cop. It was actually Heston who suggested Universal that Welles would not only act in this film but also direct it, so you should give him some credit. Janet Leigh plays Heston's all-American wife "from Philadelphia", and is also quite marvelous in the way she turns out to be something else that we first think she is. With Hitchcock's PSYCHO and Anthony Mann's THE NAKED SPUR, this is probably her best performance. Metty's contrasty black-and-white photography also makes her very beautiful. She looks always better in blacho and white than in color, don't you think so?
This unorthodox casting works, because the film is a bigger than life caricature. It is often unbelievably funny indeed, which makes the viewer unconfortable because the thematic matter treated in this film is certainly not a humorous one. Of course that was Welles' intention, to challenge and provoke the audience. The magnificent supporting cast including Welles' favorite actors Ray Collins and Joe Cotten (from the Mercury Theatre and CITIZEN KANE) and Akim Tamirof hightens the caricature nature of the film. Joseph Caleia who plays Welles' side-kick proves to be a marvelous actor, one of the best performance in the entire Welles filmography (that is, from another actor than Orson himself). The dark hummour of the film reaches one of the darkest, poignant criticism about justice and how the idea is executed in reality. How much is it allowed for a police officer to execute justice, what is the thin line between justice and the abuse of justice that leads to fascism and a police state? This important question in our modern society is the theme Welles attacks in this film. But as in most of Welles great achievments, the political/social concerns turns out to be only one aspect of the story. It also becomes deeply deeply emotional in the way it becomes a personal moral conflict as well.
There used to be two versions of the film. The one hour and a half theatrical released version and the nearly two hours restored version. Though the longer version includes shots that were not done by Welles and Metty, the story is more comprehensible and Welles often proclaimed that he preferred the longer one (it was Universal who made the retakes and made the longer version, and why they did not released this one is a big mystery). But in the early 90's, a memo by Welles suggesting re-editing the 110 minutes version was discovered. So this so-called newly restored version (which should be called a re-construction since this version never existed; a great injustice that Welles was not allowed to touch the footage he himself had directed) was made, which is now on this DVD; with a beautiful digital wide-screen transfer that captures the deep blacks, menacing shadows and brilliant whites of Russel Metty's cinematography.
The heaviest changes are made on the sequence that you might have imagined no re-editing could be done; the celebrated 3 minutes long take which opens the film. This newly reconstructed version (and Welles' memo reproduced as a supplement of this DVD) confirms one important aspect of Welles' works that he was almost obsessive about, but few critics have been noticing; his close attention in the use of sound. You can also notice his obbsession about making a film that sound distinctively different from conventional movies by listening to the audio commenatary by Bogdanovich on THE LADY FROM SHANGHAI-DVD (and reading the huge book of Welles-Bogdanovich interview edited by Jonathan Rosenbaum THIS IS ORSON WELLES; check the amazon.com bookstore!).
Some TOUCH OF EVIL fanatics may regret that the famous Henry Manicini's opening theme music is now gone, but one has to admit that in the way Welles envisioned, the opening long take becomes far more powerful. As a stylish echnical tour-de-force as it is, the opening shot has now an almost documentary feeling about it, so immediate and raw, which obviously must have been the touch that Welles intended in this picture.
Though there are not too many obvious changes made in what you see from the former restored version (except that most of the explanatory re-takes done by Harry Keller are mostly gone now), what you hear is very different and the atmosphere you get from the entire film is now something else. The film that used to be concerned as the ultimate example of Welles stylism has now became a great example of Welles' realism. His "realism" is something different from Rossellini's realism or Ken Loach realism. I would venture to say it's closer to something like Scorsese realism or Oliver Stone realism (if Orson were alive today, he ceratinly would have worked with Robert Richardson as his DP), and this amazing realistic feeling you get from the new TOUCH OF EVIL will certainly blow your mind away, even to those whom who have seen the movie for more than 20 times.
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81 of 86 people found the following review helpful
5.0 out of 5 stars "And this is where you're going to die...", July 22, 2003
By 
Michael Crane (Orland Park, IL USA) - See all my reviews
The story is pretty much known by many that after the heated battle with "Citizen Kane," Orson Welles was never given complete control over his films again. This would lead to the studio editing his movies and changing things he didn't want changed. This was the case with "Touch of Evil," and of course this really upset Welles. Now circumstances are different, as the DVD "Touch of Evil" offers you the restored and uncut version that is as close to Orson Welles' vision as you can get. And the results are pretty amazing, I must admit. "Touch of Evil" is an outstanding film noir that is unlike any you have ever seen.
It all starts with a car explosion that kills two. A Mexican narcotics investigator and a very obsessive and cold police chief are thrown into the investigation. That's only half the story, as the investigator's wife is confronted by a known criminal and his gang of hoodlums that threaten to cause trouble for them. And what's worse is that the police chief doesn't appear to be the most honorable man in the world, and perhaps is even crooked. This all leads to an explosive plot with an unbelievable finale that is both unpredictable and satisfying. It is very clear why "Touch of Evil" is hailed as a classic by many.
It's great to see that the movie has been restored to Welles' original vision. I've never seen the studio version of the film, and I never want to. I'm sure they did a fine job butchering it. Welles has done for "Touch of Evil" what Hitchcock has done for "Psycho." The outcome is an authentic and exhilarating film noir that is very different from any other film noir that is out there.
Charlton Heston is great in his role. He proves to be a pretty convincing Mexican narcotics investigator. Very hard to imagine, but it works on the screen. Orson Welles is unrelenting and chilling as the police chief, Hank Quinlan. No way in the world could the part have been played by anybody else. Janet Leigh also gives an unforgettable performance that gives the movie the extra kick it needs.
The DVD has a few extras. The picture and sound is really good, considering how old of a film it is. It is a very clear-cut transfer that does the movie justice. Extra features included are production notes, cast and crew bios, the original theatrical trailer, and Welles' complete memo to the studio about how he felt about the changes forced upon the film. It would've been nice to see this film get the "2-disk" treatment, but hopefully that will happen sometime in the future. I think many will be impressed with the fact that the film is now uncut and restored, leading to them not being too let down that there aren't many extras.
"Touch of Evil" is a great film that kept my complete attention from start to finish. Some may not like it since the pace can be slow at times, but that is the nature of film noir. The overall product is a dark and haunting film that was groundbreaking then and continues to be groundbreaking now. Highly recommended for huge film buffs, but then again chances are you have already seen it. I was very pleased with the film and it will be one that I will watch again and again. If you're looking for a different and exciting experience, be sure to give it a try. After all, the worst that can happen is you not liking the movie in the end. I think it's worth the risk.
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42 of 43 people found the following review helpful
5.0 out of 5 stars He Was Some Kind Of A Man, August 21, 2000
Touch Of Evil has been my all-time favourite film eversince I first viewed it with eyes fixed & mouth agape at the stunning opening sequence. The cinematography is amazing (apart from Robert Foster's corny inserts). Heston agreed to do the movie because he heard Welles was signed on. He would have done anything Welles told him to do, and it shows. Orson gives one of his best cinema appearances as the bent cop, Hank Quinlan. He uses great make-up & costume for the role which still fools viewers till this day. I'd like a dollar for every idiot who comments, "He's not looking too good in this film". Janet Leigh gives nice performance with broken arm & Akim Tamirof nearly steals all the thunder from the others with great character as head Grande. Dennis Weaver is perfect as goofball nightman & Deitrich is unforgetable. This is the greatest film noir ever made. With Welles behind & in front of the camera, it is a feast for all film lovers. After seeing the standard UCLA art house print & the restored print from recent years, I was so glad that someone decided to re-edit the film according to Welles' 58 page memo to MGM. The result is impressive to say the least. Not only do we get to see that famous opening crane shot without obtrusive opening credits, but the entire movie flows a hell of alot smoother & is easier to follow than the earlier theatre cut. Soon we'll all be able to see this masterpiece on DVD, re-edited & including Welle's 58 page memo. Who could ask for more?
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26 of 26 people found the following review helpful
4.0 out of 5 stars Movie enthusiasts may find the following interesting, February 27, 2003
By 
Okay, here's the deal. When a studio puts a widescreen film on DVD or video and wants your entire television screen to be filled, one of two things are done. The first, and most common thing, is the PAN & SCAN method. This is when lots of image on the sides of the film spill over past the edge of your TV screen (can't fit a rectangular movie image perfectly into your more-square TV screen, after all), with the video/DVD producers doing their best to try to retain the stuff you need to see to follow the story. This is usually done by panning left and right, and sometimes by adding artificial cuts (when, for instance, a conversation is taking place in a car between someone on the far left and the far right sides of the screen, and both people have to be seen).
The other method to make the rectangular movie image fit onto the more-square TV screen is the OPEN MATTE method. This approach RETAINS all the information on the sides of the movie image, but ADDS picture information on the top and bottom of the screen to make the movie image more square, to fit your TV. Usually, this extra information amounts to some extra head room on the upper portion of the screen and more of an actor's body below, things like that. However, it is important to note that this extra picture information was never really meant for the viewer to see. Movie projectors, in fact, use masking devices to cut off this extra picture information, as per the director's framing guidelines, when you see a movie in a theater. A quick aside: ever laugh at a movie's "ineptitude" when the boom microphone clearly hovers above an actor's head, when you go to the movies sometimes? Well, that isn't the director's fault. It's the fault of the projectionist, because he or she didn't follow the framing guidelines sent along with the movie. You were seeing information you weren't MEANT to see.
So, what is going on with this "Touch of Evil" DVD is this: for years on TV, and for years on VHS, EXTRA information was added on the top and bottom of the TV image to fill out your square television screen. I imagine this was seen as a lesser evil than panning & scanning, which would have resulted in lots of picture on the sides being lost at any given time. So, for this new DVD, the manufacturers did indeed (as many have pointed out here) covered up picture information you may have seen before on TV or home video. Though I can see how this may seem frustrating at first ("They're trying to trick us with this [simulated]widescreen!" or "They're COVERING UP part of the picture!"), you really needn't be angry. No one is trying to trick you, or cut corners, or anything like that. It's just one of those weird situations where, to retain the original vision of the director, the black bars at the top and bottom of your screen are being used in a different way than they usually are: instead of using them to assure the retention of information on the sides of the picture (not necessary in this case, as that info was never lost on TV, VHS, etc.), the bars are being used to mask information you were never meant to see in the first place.
Hope all this meandering helped a bit to shed light on this often complicated issue. Oh, by the way, I really enjoyed the new re-edit of this movie, as well as the nice crystal clear DVD image. Welles' famous 58-page memo about the movie is also included, happily in a font big enough so one doesn't have to squint or sit two feet from the TV to read it.
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19 of 20 people found the following review helpful
5.0 out of 5 stars Henry Mancini's Evil Touch, July 16, 2008
By 
Hans Hoes (Amsterdam, The Netherlands) - See all my reviews
Finally, the last true film noir gets the treatment it deserves. It goes without saying that 8 years ago Universal did a great job, when 'Touch Of Evil' was released in a version restored to Orson Welles' original vision. However, butchered as it may have been when the studio took it away from Welles back in 1958, I still have fond memories of the theatrical version, especially the famous opening sequence.
In this sequence, which was filmed in one continuous take lasting 3 minutes and 20 seconds, the camera follows a car with a bomb in its trunk that eventually will explode, just after the car has passed the Mexican-American border. On the soundtrack of the theatrical version, this sequence was accompanied by an evil oozing theme written by Henry Mancini, full of rattling congas and a menacing dialogue between the horns.
For the restored version, Mancini's title theme has been skipped. Welles felt the threatening atmosphere would be better established by sound effects and source music coming from the surroundings, such as car radios, footsteps, and snippets of dialogue.
In my opinion, both versions have their merit. Compare them in this 50th anniversary edition (which also includes the preview version), and you'll agree that both Welles and Mancini had an evil touch.
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25 of 28 people found the following review helpful
5.0 out of 5 stars Will Welles' cut appear on DVD?, August 22, 1999
By 
This review is from: Touch of Evil [VHS] (VHS Tape)
I was able to see Orson Welles' cut of "Touch of Evil" and it's MUCH better than the video version sold here. I'm wondering if ORSON WELLES' CUT will appear on DVD anytime soon.
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48 of 59 people found the following review helpful
1.0 out of 5 stars FALSE WIDESCREEN!, August 2, 2002
By A Customer
It breaks my heart to say this but do NOT buy this dvd. If you are curious to see this great film you would be better served purchasing the VHS cassette! I stumbled on one false widescreen movie before(Reservoir Dogs vhs tape) and to my disgust found this ... DVD to be just as phoney as that one. I have visual proof because I bought the VHS tape which ispresented in standard format when it was originally released in 99. I only recently acquired a dvd player and ran out to buy this hopeing to see even more of this terrific picture and discovered, immediately in fact while the Universal globe symbol was spinning on the screen before the film, that they had literally put two black bars on top of the standard format I own on the vhs tape! I suggest complaining to Universal over this.
I do recommend this film to anyone who loves just a great movie with great performances but only, and I stress ONLY on the VHS format. Universal did an awful job with this dvd for not even including the often aired(on cable) documentary concerning this film and its restoration.
Once again WARNING! FALSE WIDESCREEN HERE! Please be aware. Universal is out to hurt Welles yet again while he spins in his grave.
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75 of 94 people found the following review helpful
1.0 out of 5 stars Beware Fake Widescreen, July 30, 2001
Well, once again, Welles' artistic vision has been compromised. Apparently a common practice (SO BEWARE), the makers of this DVD have added fake-widescreen...adding black bars across the top and bottom, thus giving the impression of a wider aspect ratio, when in fact the film was never intended to be "widescreen." In other words, you are being robbed of the upper and lower portions of the picture. Would Orson have approved? NO! Neither should we!
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10 of 10 people found the following review helpful
4.0 out of 5 stars New Reedited Version Is a Great Improvement Over The Original., December 13, 2005
"Touch of Evil" is based on Whit Masterson's novel "Badge of Evil" about a battle wills between a crooked American cop and a strait-laced Mexican narcotics agent investigating the murder of a wealthy businessman, whose car was blown up in the United States by a bomb planted in Mexico. Captain Quinlan (Orson Welles) is an old, alcoholic, cop whose "intuition" has made him the law of the land in his county. Miguel "Mike" Vargas (Charlton Heston) is a clean-cut Mexican police officer involved in prosecuting the drug-running Grandi family. Mike's honeymoon with his new American wife Susie (Janet Leigh) is interrupted by the bombing, harassment from the Grandis, and a constantly snarling Quinlan. When Quinlan plants evidence to frame the lover of the dead man's daughter, Manolo Sanchez (Victor Millan), for the crime, Vargas feels compelled to challenge Quinlan an investigate the case himself.

Orson Welles was originally tapped to play the villain in "Touch of Evil" but Welles ended up directing the film as well. Things went smoothly until "Touch of Evil" met the fate of so many of Welles' American films: Universal denied Welles the final cut on the film. Contract director Harry Keller was called in to direct additional scenes, and the film was reedited into something of an incoherent mess. It was the last Hollywood film that Orson Welles directed. In 1957 Welles saw the Universal's final cut and wrote a 58-page entreaty to studio head Edward Muhl detailing changes, mostly in editing, that he felt would make the film's tone more consistent and storyline more coherent. His suggestions were ignored. "Touch of Evil" failed at the box office. And it became something of an oddity among classic film noir. The film was revered in Europe for it's sporadic brilliance in spite of its thematic and narrative confusion. In the 1970s, a 109-minute preview version of "Touch of Evil" was discovered that included an extra 10-15 minutes of footage shot by both Welles and Harry Keller. Around 1990, Welles' letter to the Edward Muhl resurfaced. With Universal's cooperation, producer Rich Schmidlin and editor Walter Murch tried to reedit "Touch of Evil" the way Welles had suggested. The film on this DVD is the product of their efforts. In 1999, "Touch of Evil" was reborn, new and improved.

I saw the original Universal Studios version of "Touch of Evil" at a screening in 1989. By that time, it has become fashionable in American film circles to think the film was brilliant, and "Touch of Evil" had remarkably become the second-most-studied Orson Welles work, after "Citizen Kane". But the "Touch of Evil" that I saw featured a few great scenes among a morass of poorly paced, nonsensical storyline. The film was mediocre at best. I distinctly remember its major flaws: The Henry Mancini score that accompanied the fantastic opening 3-minute crane shot gave entirely the wrong impression of the film, leaving the audience to believe it would be watching an upbeat, extroverted, thriller, when it's actually an introverted, cynical, film noir. The motivation behind policeman Pete Menzies' (Joseph Calleia) actions, critical to the film's outcome, was entirely unclear. And the scenes in which Capt. Quinlan speaks to Marlene Dietrich's Tanya are high camp, apparently unintentionally. I was unsure how much the film could be improved by reediting, so I watched this new version of "Touch of Evil" eagerly but with trepidation. I was delighted to find that the film's biggest inconsistencies and opacities have been fixed!

I still don't think "Touch of Evil" is a great film, but it's a good one. The film's strongest element is its chaotic, menacing tone: People tend to speak simultaneously, interrupting each other. The shuttling between the U.S. and Mexican border towns, each with its own brand of lawlessness, keeps the audience on edge. The characters are often unaware that they have no control of their fates. Susie's hotel room scenes are among the most genuinely unsettling I've seen in any film. This is solid film noir. Paul Schrader called "Touch of Evil" "film noir's epitaph", because it came late in the classic film noir cycle. I think it actually came after the classic film noir cycle. "Touch of Evil" was retro when it was made, which is probably why the studio felt it wouldn't work. Orson Welles was out of touch with American audiences, having been in Europe for years. Audiences in 1958 didn't want to be told that they had no control of their lives, the world is a dangerous place, and nothing is as it seems. But film noir fans love that attitude, and this version is much improved over the original "Touch of Evil".

The DVD (Universal 2000): This is a restored print of the film, so it has no physical flaws. The most notable bonus feature is "Welles' Memo", which is Orson Welles' 58-page letter to Universal's Edward Muhl, on which this reedit of the film is based. Welles addresses mostly editing and score issues, and his suggestions reveal his intent in many of the scenes. There is also an unrestored theatrical trailer (2 min). "Production Notes" (text) provide a brief summary of the story of reediting the film. "Cast and Filmmakers" are brief text bios and selective filmographies for 7 members of the cast, writer Whit Masterson, Orson Welles, and producer Albert Zugsmith. Captioning for the film is available in English. Subtitles are available in French and Spanish.
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8 of 8 people found the following review helpful
5.0 out of 5 stars A truly great film by one of America's great directors, November 3, 2002
By any standard, this is a great film masterpiece. In fact, I consider this to be the third greatest film in Welles's career, following only CITIZEN KANE and the first three-quarters of THE MAGNIFICENT AMBERSONS. It features some of the finest photography of any film ever made in America, a deeply troubling screenplay touching on moral ambiguity, and one of the greatest yet unflattering performances in Welles great career.
The opening shot that begins this film is one of the most spectacular in the history of film. It is a joy to watch and rewatch that shot, which takes around three minutes ot screen time, to figure out how it was managed. I imagine that a crane on the back of a truck was required, given the enormous distance from the ground the camera was able to travel. It reminded me of similar shots in films by Alfred Hitchcock (I believe in YOUNG AND INNOCENT) and the end of Sergio Leone's ONCE UPON A TIME IN THE WEST. Such shots are rare because they depend upon a huge number of individuals getting everything right, and because coordinating such a shot can be a nightmare. It is one of the most virtuosic moments in the career of one of cinema's greatest virtuosos.
Orson Welles's physical appearance in the film is shocking, and provides the foundation for an astounding performance. He was only 43 when he played the part, but looked not just much older, but used up. Quite appropriately, in one scene a former paramous played by Marlene Dietrich doesn't recognize him at all. It doesn't seem possible that he could be the same actor who played Harry Lime in THE THIRD MAN only nine years earlier. It wasn't just the enormous weight gain during that time. They did a great deal to accentuate the changes in his physique. Although much heavier, they also apparently padded his midsection to make him appear more immense than he actually was. Other steps were taken to increase the appearance of great size. For instance, in his first encounter with Charlton Heston, Welles mysterious was taller than Heston by a few inches, whereas Heston was, in fact, a few inches taller than Welles. In his performance, Welles manages to convey complete physical and moral decay, as if evil had touched him and caused his demise.
On thing that did bother me in the film was the casting of Charlton Heston as a Mexican. He is a fine actor, and he did a good job, but he was simply not convincing as a Mexican. He looks like a gringo with dark mark up on and with his hair dyed black. It is an all too common problem with films shot in the thirties to the sixties, even. Only in the 1970s did Native Americans, for instance, actually start playing Native Americans.
I hope at some time in the future, a new DVD of this film is released that includes both the original release version of the film as well as the restored version. While the reedited version is clearly the one to see, it would be interesting to contrast the version that represents Welles's own conception with the way in which the studio altered it.
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Touch of Evil - Limited Edition (Blu-ray + DIGITAL HD with UltraViolet)
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