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S E A R C H D V D B e a v e r |
(aka "Badge of Evil" )
USA 1958
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Touch of Evil begins with one of the most brilliant sequences in the
history of cinema; and ends with one of the most brilliant final scenes ever
committed to celluloid. In between unfurls a picture whose moral, sexual,
racial, and aesthetic attitudes remain so radical as to cross borders
established not only in 1958, but in the present age also. Yet, Touch of Evil
has taken many forms. The film as released in 1958 was certainly compromised
from Orson Welles’ vision, but a lengthy, arresting memo written by Welles to
studio heads in 1957 – taking issue with a studio rough-cut – had some influence
on a subsequent preview version shown to test audiences (and rediscovered in the
mid-1970s) as well as the 1958 theatrical version. Forty years later, in 1998,
Universal produced a reconstructed version of the film that takes into
meticulous account the totality of Welles’ memo, and ostensibly represents the
version of the film that most closely adheres to his original wishes. Charlton Heston portrays Mike Vargas, the Mexican chief of narcotics who sets out to uncover the facts surrounding a car bomb that has killed a wealthy American businessman on the US side of the border. As Vargas investigates, his newly-wed wife Susie (Janet Leigh, two years before Hitchcock’s Psycho) is kidnapped by a gang out to exact vengeance for the prosecution of the brother of their leader (Akim Tamiroff). Meanwhile, Vargas’ enquiries become progressively more obfuscated by the American cop Hank Quinlan (played by Welles himself, in one of the most imposing and unforgettable screen performances of his career), a besotted incarnation of corruption who alternately conspires with Susie’s captors and seeks solace in the brothel of the Gypsy madame (Marlene Dietrich) who comforted him in bygone times. *** Touch of Evil, the project with which—some 16 years after Citizen Kane—the 42-year-old Orson Welles tried (and failed) to stage a Hollywood comeback, is a movie of transcendent movie-ness and still-astonishing virtuosity. Revived for two weeks in a restored print, it is an even greater reproach to contemporary filmmaking than it was when it was dumped in neighborhood theaters on a double bill with Diana Dors in The Unholy Wife. In December 1956, Welles was offered the role of the villain in a Universal thriller about a crooked cop. But the movie's star, Charlton Heston, thought that Welles was to direct the picture, and from the acorn of that misunderstanding emerged a splendid oak. With all due respect to the truncated Magnificent Ambersons, blighted Othello, and mossy Chimes at Midnight, Touch of Evil is the tallest tree in the wilderness of Welles's post-Kane career. "Unimaginably pleasurable to make," the maestro told Peter Bogdanovich. It shows. |
Posters
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Theatrical Release: May 21st, 1958
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Reviews More Reviews DVD Reviews
Comparison:
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Universal (2-disc - 50th Anniversary Edition) - Region 1- NTSC vs. Universal Studios (US) - Region 1 - NTSC vs. Universal Studios (UK) - Region 2,4,5 - PAL vs. Masters of Cinema - Region 'B' - Blu-ray vs. Universal - Region FREE - Blu-ray |
Big thanks to Pavel Borodin for all the single-disc DVD Screen Caps!
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Reissue Blu-ray in May 2015:
Reissue Blu-ray in October 2018:
Kino is bringing out a 4K UHD edition in February 2022:
Masters of Cinema is bring out a 4K UHDedition in September 2023:
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| Distribution |
Universal Studios (50th Anniversary Edition) Region 1 - NTSC |
Universal Studios (US) Region 1 - NTSC |
Universal
Studios (UK) Region 2,4,5 - PAL |
Masters of Cinema - Spine # 25Region 'B' - Blu-ray |
Universal Region FREE - Blu-ray |
| Runtime | 1:50:36, 1:48:48, 1:35:15 | 1:50:36 | 1:46:08 (4% PAL speedup) |
1:50:39.633 (both 1.85 and 1.37 1998 Reconstructions) 1958 theatrical version 1:35:22.633 and Preview version: 1:48:59.783 |
Reconstruction: 1:50:40.950 (in 1.85)
Theatrical: 1:35:23:550 (in 1.85) Preview version: 1:48:59.824 (in 1.85) |
| Video |
1.85:1 Original Aspect Ratio
16X9 enhanced |
1.85:1 Original Aspect Ratio
16X9 enhanced |
1.85:1 Original Aspect Ratio
16X9 enhanced |
1080P Dual-layered Blu-ray Disc Size: 49,807,775,303 bytes Feature: 22,700,229,696 bytes Codec: MPEG-4 AVC Video Total Video Bitrate: 24.99 Mbps
Feature: 25,298,646,528 bytes Codec: MPEG-4 AVC Video Total Video Bitrate: 27.99 Mbps |
1080P Dual-layered Blu-ray Codec: MPEG-4 AVC Video Disc Size: 48,795,436,522 bytes
Reconstruction: 23,830,099,968 bytes Video Bitrate: 19.98 Mbps Theatrical Feature: 20,536,528,896 bytes Video Bitrate: 19.98 Mbps Preview Feature: 23,473,182,720 bytes Video Bitrate: 19.98 Mbps |
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NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes. |
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Bitrate:
Universal Studios (50th Anniverssary)
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Bitrate:
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Universal Studios (UK)
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Bitrate: MoC 1998 Reconstruction
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Bitrate: Universal 1998 Reconstruction
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| Audio | English (Dolby Digital Mono 2.0) | English (Dolby Digital Mono 2.0) |
English, DUBS: French, German, Italian, Spanish (Dolby Digital Mono 2.0) |
DTS-HD Master Audio English 727 kbps 2.0 / 48 kHz / 727 kbps
/ 16-bit (DTS Core: 2.0 / 48 kHz / 512 kbps / 16-bit) Commentaries: Dolby Digital Audio English 192 kbps 2.0 / 48 kHz / 192 kbps / DN -4dB |
DTS-HD Master
Audio English 1852 kbps 2.0 / 48 kHz / 1852 kbps / 24-bit (DTS Core: 2.0 /
48 kHz / 1509 kbps / 24-bit) Dolby Digital
Audio English 192 kbps 2.0 / 48 kHz / 192 kbps / DN -4dB |
| Subtitles | English (SDH), Spanish, French, none | English, Spanish, French, none | English, French, German, Italian, Spanish, Portuguese, Dutch, Swedish, Danish, Finnish, Norwegian, Hebrew, Arabic, Russian, Turkish, Greek, none | English (SDH), none | English, Spanish, French, none |
| Features |
Release Information: Studio: Universal Studios (Anniversary) Aspect Ratio:
Edition Details:
• Commentary (Restored Version) with Charlton Heston, Janet Leigh and
producer Rick Schmidlin Disc 2 • Commentary (Theatrical
Version) by critic F.X. Feeney
58-page memo from Welles to the Studio DVD Release Date: October 7th, 2008 Keep Case Chapters 18 |
Release Information: Studio: Universal Studios (US) Aspect Ratio:
Edition Details: Chapters 19 |
Release Information: Studio: Universal Studios (UK) Aspect Ratio:
Edition Details:
DVD
Release Date: November 10th, 2003 Chapters 21 |
Release Information: Studio: Masters of Cinema
1080P Dual-layered Blu-ray Disc Size: 49,807,775,303 bytesFeature: 22,700,229,696 bytes Codec: MPEG-4 AVC Video Total Video Bitrate: 24.99 Mbps
Feature: 25,298,646,528 bytes Codec: MPEG-4 AVC Video Total Video Bitrate: 27.99 Mbps
Edition Details:
58-page memo from Welles to
the Studio Chapters 1998 Recon - 22 / 1958 - 21 |
Release Information: Studio: Universal Studios (Blu-ray) Aspect Ratio: 1.85:1 1080P Dual-layered Blu-ray Codec: MPEG-4 AVC Video Disc Size: 48,795,436,522 bytes
Reconstruction: 23,830,099,968 bytes Video Bitrate: 19.98 Mbps Theatrical Feature: 20,536,528,896 bytes Video Bitrate: 19.98 Mbps Preview Feature: 23,473,182,720 bytes Video Bitrate: 19.98 Mbps
Edition Details:
• Reconstructed Version Commentary with Charlton Heston, Janet Leigh, and
Reconstruction Producer Rick Schmidlin 58-page memo from Welles to the Studio UltraViolet
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| Comments |
NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc. ADDITION: Universal - Region FREE - Blu-ray - (April 2014) - Like the new Double Indemnity Masters of Cinema Blu-ray compared to the Universal 1080P - we have significant differences. Firstly the Universal don't bother with the dual-ratios. There is no 1.37:1 versions. They include all three versions ('Reconstruction', 'Theatrical' + 'Preview') in 1.85;1 on one, seamlessly-branched, Blu-ray disc. It is less robust than the UK BD showing a consistent 20 Mbps video bitrate for all three. What is most striking is the amount of information in the frame. The new Universal has more on the left and top edges. Now, I'm not a lab or anything - I'm just one guy and my observations are that the quality generally leans to the Universal but, like Double Indemnity, the Masters of Cinema supports the grain structure to a notably higher level. After the first captures comparison (Janet Leigh and Charlton Heston walking by the car) it looked like the MoC would be dramatically better (Universal looked like it may be boosted and softer), but as I made more comparison captures (VERY difficult with an imbedded timeline in 'pause mode') - the Universal took the edge with superior contrast supporting slightly tighter detail. Aside from the cropping, I suspect the MoC is the most authentic in appearance. So I think both packages have a lot to offer. The Universal audio is transferred more robustly, but I think you'd have to be extremely familiar with the film to be attentive to the marginally deeper soundstage. I have no idea which is most accurate to the production's intentions and the Universal DTS-HD Master sounded strong. Mancini's Mani title and background score sounded excellent via the lossless. The Universal Blu-ray has optional subtitles (English, French, Spanish) and is region FREE. Universal duplicate their Anniversary DVD edition with the commentaries; on the 'Reconstructed Version' we get Charlton Heston, Janet Leigh, and reconstruction Producer Rick Schmidlin commentary. The 'Theatrical Version' includes an optional commentary with Writer/Filmmaker F.X. Feeney and the 'Preview Version' has Orson Welles historians Jonathan Rosenbaum and James Naremore. Also repeated are the 21-minute Bringing Evil to Life featurette and the 17-minute Evil Lost and Found featurette (both in 480i) as well as a Theatrical Trailer as in SD. The package offers the booklet of a 58-page memo from Welles to the Studio and the UltraViolet digital download code. I'm keen to know about the cropping, but I think both packages have a lot of value. I think, those not residing in region 'B' (or 'FREE') will appreciate the ability to obtain the new Universal. ***
ADDITION: Masters of Cinema - Region 'B' - Blu-ray - (October 2011) - Quite a phenomenal package from The Masters of Cinema. This is 2 dual-layered Blu-ray discs - the first has the 1 hour 51-minute long 1998 Reconstructions of Touch of Evil offered in both 1.85:1 and 1:37 aspect ratios. The widescreen version has a 2008 recorded optional commentary by the restoration producer, Rick Schmidlin. The "full-frame" version has the 1999 recorded optional commentary with Charlton Heston, Janet Leigh and Mr. Schmidlin. Sharing that disc are the two video extras; Bringing Evil to Life [21:00] and Evil Lost and Found [17:06] as well as a theatrical trailer (which includes alternate footage) - all three video extras in 480i. Okay - disc 2 has the 1 hour-35-minute 1959 Theatrical version of Touch of Evil offered in both 1.85:1 and 1:37:1 aspect ratios. There is also the 'Preview Version' in widescreen. The Theatrical Versions offer an optional, duplicated, commentary by critic F. X. Feeney (2008) and the 1 hour-48-minute 1.85:1 'Preview Version' has a commentary by Welles scholars James Naremore & Jonathan Rosenbaum (rated the BEST commentary of the Year HERE).All commentaries and digital extras are found on the 2008 50th Anniversary DVD from Universal. So we get the theatrical in the optional 1.37:1 and the image and audio in HD and a magnificent 56-page booklet featuring essays by Orson Welles, François Truffaut, André Bazin, and Terry Comito; interview excerpts with Welles; a timeline of the film’s history; and extensive notes on the film’s versions and ratios.
The image is a darn-sight better than the SD versions -
in just about every visual category. There is more detail visible as
contrast, a function of sharpness, is crisper (far less muddy). The
widescreen the 'scope' factor is far more defined and it's a pleasure to
see the 1080P has infused some depth into the presentation. The static
captures probably aren't doing the transfer justice as in-motion it is
impressive. Touch of Evil has a lot of darkness and the HD
handles it more adroitly with less noise and no undue digital artefacts.
Black levels were strong on the 50th Anniversary DVD - but even here I
can see a smidgeon of superiority via the
Blu-ray
rendering. We are talking over 3X the bitrate of the Anniversary SD
edition(s) but, honestly, it seems like more. The 1:37 hi-def
reconstruction may be even more detailed than the widescreen - we see
this phenomenon frequently and I can't really tell if it is just an
illusion. The Theatrical and Preview versions may be a small notch below
the reconstructions in image quality but I wouldn't say it's significant
enough to make issue. Overall we give an enthusiastic thumbs up for the
new format editions and can't see any form of digital manipulation - we
presume that any weakness would exist on the source. These transfers are
clean and fans should be immensely pleased with the more film-like
appearance.
Well, this is it the complete package for the Touch of Evil - a digital Omnibus of appreciation. I really enjoyed revisiting the commentaries (especially Rosenbaum/Naremore) as they only help bolster my understanding of the complete story of the film's production. The included book by MoC is at their usual impressive high standard. This has taken the already-essential and complete DVD sets and improved it - making it one of the more important Blu-rays of the entire year. Very strongly recommended! ***
ADDITION: 50th Anniversary - October 8th: This new release contains the 1 hour 51 minute (Restored Version) on Disc 1 an both the 1 hour 36 minute (Theatrical Version), and the 1 hour 49 minute (Preview Version) on Disc 2. This transfer is modestly improved over the previous SD-DVDs - with noticeably more detail and the contrast is improved with much superior black levels. Even the 2 other editions, shared on the second dual-layered disc, seem to have excelled transfers as compared to the older editions (see comparison captures below of Marlene Dietrich). I, personally, didn't notice an improvement with the audio (which was reasonably fine) and English, Spanish or French subtitles are still offered. The huge additions include the 4 commentaries and the complete 'Theatrical' and 'Preview' versions of the film. It is great to hear the plethora of Welles info and the history of the film which extends to a bizarre and miraculous microcosm of the Hollywood system and the perseverance of artistic freedom. It's great to hear Jonathan Rosenbaum whom I could listen to all day. These commentarists have given much of their lives to knowledge of Orson Welles and obviously respect for his achievements. Truly one could drown in these discussions that, essentially, garner vast appreciation for the creation of the film. The first disc also has two relevant featurettes that total about 40 minutes. The original memo from Welles to the studio is included in the package. great reading! We most whole-heartedly recommend - especially to students of film and Orson Welles. This remains an important, dark entry in cinema history. Gary Tooze ***
ON THE ORIGINAL SD-DVDS: I think the image quality of these two releases is quite similar. The region 2/4/5 DVD has audio language options and offers subtitles in multiple languages, which could be useful for many people. The Region 1 DVD has more extras, but all of them are text-based. |
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Masters of Cinema (UK) - Region 'B' - Blu-ray
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Universal - Region FREE -
Blu-ray Selection Screen
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CLICK EACH BLU-RAY CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION
Screen Captures
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1) Universal (50th Anniversary Edition) - Region 1- NTSC TOP 4) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray FOURTH 5) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray FIFTH 6) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM |
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1) Universal (50th Anniversary Edition) - Region 1- NTSC TOP 4) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray FOURTH 5) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray FIFTH 6) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Universal (50th Anniversary Edition) - Region 1- NTSC TOP 4) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray FOURTH 5) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray FIFTH 6) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Universal (50th Anniversary Edition) - Region 1- NTSC
TOP 3) Preview (50th Anniversary Edition) - THIRD
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FOURTH
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Cinema (UK)
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1.37:1 - Region
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Cinema (UK)
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1) Universal (50th Anniversary Edition) - Region 1- NTSC TOP 4) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray FOURTH 5) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray FIFTH 6) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Universal (50th Anniversary Edition) - Region 1- NTSC TOP 4) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray FOURTH 5) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray FIFTH 6) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Universal (50th Anniversary Edition) - Region 1- NTSC TOP 4) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray FOURTH 5) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray FIFTH 6) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray TOP 2) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Masters of Cinema (UK) Reconstruction 1.85:1 - Region 'B' - Blu-ray TOP 2) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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1) Masters of Cinema (UK) Reconstruction 1.37:1 - Region 'B' - Blu-ray TOP 2) Universal (US) Reconstruction 1.85 - Region FREE Blu-ray BOTTOM
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Report Card:
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Image: |
Blu-rays |
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Sound: |
Blu-rays |
| Extras: | Blu-rays |
| Box Covers |
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Reissue Blu-ray in May 2015:
Reissue Blu-ray in October 2018:
Kino is bringing out a 4K UHD edition in February 2022:
Masters of Cinema is bring out a 4K UHDedition in September 2023:
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| Distribution |
Universal Studios (50th Anniversary Edition) Region 1 - NTSC |
Universal Studios (US) Region 1 - NTSC |
Universal
Studios (UK) Region 2,4,5 - PAL |
Masters of Cinema - Spine # 25Region 'B' - Blu-ray |
Universal Region FREE - Blu-ray |
Associated Reading (CLICK COVERS or TITLES for more information)
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This is Orson Welles by Orson Welles, Peter Bogdanovich, Jonathan Rosenbaum |
Orson Welles on Shakespeare: The W.P.A. and Mercury
Theatre Playscripts by Orson Welles, Simon Callow, Richard France |
Orson Welles: Interviews (Conversations with
Filmmakers (Paperbacks)) by Orson Welles, Mark W. Estrin |
The Trial by Franz Kafka |
Orson Welles : The Stories of His Life by Peter Conrad |
Rosebud : The Story of Orson Welles by David Thomson |
Encyclopedia of Orson Welles (Great Filmmakers) by Chuck Berg, Tom Erskine, John C. Tibbetts, James M. Welsh, Thomas L. Erskine |
Chimes at Midnight: Orson Welles, Director (Rutgers
Films in Print) by Bridget Gellert Lyons |
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Gary Tooze |
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