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Touch of Evil

4.0 out of 5 stars 96 customer reviews

Price: CDN$ 25.26
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Playback Region B/2 :This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications here

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Total price: CDN$ 42.22
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Product Details

  • Language: English
  • Subtitles: English
  • Region: Region B/2
  • Aspect Ratio: 1.85:1
  • Number of discs: 2
  • MPAA Rating: UNRATED
  • Average Customer Review: 4.0 out of 5 stars 96 customer reviews
  • Amazon Bestsellers Rank: #138,991 in DVD (See Top 100 in DVD)
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Product Description

Quick Shipping !!! New And Sealed !!! This Disc WILL NOT play on standard US DVD player. A multi-region PAL/NTSC DVD player is request to view it in USA/Canada. Please Review Description.

Customer Reviews

Top Customer Reviews

Format: DVD
Orson Welles may have made the supposed greatest film in history with "Citizen Kane", but the experience virtually ruined him. Ostracised by Hollywood and the press after his insulting portrayal of William Randolph Hearst, he was relegated to making low budget films.
Touch of Evil was made in 1958; the last film to be directed by Orson Welles. Unexpectedly given the reins of the film, Welles threw away the script for the planned film, and in just two weeks scratched out a script based on a cheapo pulp fiction novel called "Badge of Evil".
The result, as presented now in a restored version (the movie was, like Magnificent Ambersons, butchered by the studio) is quite remarkable.
On the one hand, it is definitely pulp, with an extremely rough-and-ready style, gritty elements (this is the only "pot party" you're likely to see in a "great film" from the studio era!) and a very, very low budget.
On the other hand, it is a masterpiece. I was extremely impressed by the scene in which (*spoiler!*) Hank Quinlan strangles the Hispanic fellow. I have never seen a movie scene shot like this, especially with the surreal effect of the flashing neon, and the slanting camera.
And who can forget the end of the film, where (spoiler!) Hank Quinlan sits in a pile of garbage in a stream, and tries to cleam blood off his hands? Look at Orson's acting in this scene - truly magnificent.
Someone called this the best B film ever made. If you want to see a pulp masterpiece made on the cheap, see Touch of Evil!
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Format: Blu-ray
TOUCH OF EVIL [1958] [Limited Edition] [Blu-ray + Digital HD with UltraViolet] [US Import] A Stylistic Masterpiece!

Directed by Orson Welles, 'Touch of Evil' is a film noir masterpiece whose Hollywood backstory is as unforgettable as the movie itself. Starring Charlton Heston, Janet Leigh and Orson Welles, this dark portrait of corruption and morally compromised obsessions tells the story of a crooked police chief who frames a Mexican youth as part of an intricate criminal plot. Featuring three versions of the film ' the Preview Version, the Theatrical Version and the Reconstructed Version based on Orson Welles' original vision, Touch of Evil is a 'a stylistic masterpiece!' (Leonard Maltin's Classic Movie Guide) that stands the test of time.

FILM FACT: The film opens with a three-minute, twenty-second tracking shot widely considered by critics as one of the greatest long takes in cinema history. In 1993, 'Touch of Evil' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
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Format: Blu-ray
Let me be the first person to say that Citizen Kane was not Orson Welles' best movie. Touch of Evil was his best movie. Yes, Citizen Kane had cinematic innovations of the kind that Hollywood had never seen before. I agree. Touch of Evil has one of those Welles' innovation right at the start--the long single-take tracking shot. But, things like that don't make the movies great. Richard Linklater uses long single-takes, and so does Gus Van Sant and so does Alfonso Cuaron. So, why are their movies not as great as Citizen Kane or Lady from Shanghai or Touch of Evil?

Story-telling is what carries a movie, not a technical innovation gimmick. Touch of Evil is a brilliant story in the hands of one of the most brilliant directors. The raw noir style and the gritty cinematography makes this a must-watch movie of its generation. At a time when Hollywood was churning out cheesy romantic movies and musicals, Touch of Evil is a dramatic masterpiece that Welles throws at our face to show just how brilliant he was. It is a tour-de-force.
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By EA Solinas HALL OF FAMETOP 50 REVIEWER on Feb. 23 2014
Format: DVD
"Touch of Evil" has the honor of being the last film noir of the genre's golden age -- a dark, grimy story about a corrupt little Southwestern town.

It also was one of the few movies directed by the great Orson Welles, and his frankly it's some of the best work he ever did -- his direction gives the movie a very modern, shadowy, "realistic" feeling. And it doesn't hurt to have an all-star cast including Charlton Heston, Welles and Janet Leigh, all of whom give absolutely brilliant performances.

Mexican Narcotics officer Ramon Vargas (Heston) and his American bride Susie (Leigh) are on their honeymoon when a car is bombed. It exploded on the American side of the border, but pretty obviously was set up on the Mexican side. So Vargas begins investigating along with the American police, uncovering a young Mexican man who may have been set up.

During the investigation, Vargas sends Susie to a remote motel to keep her out of the reach of the criminal Grandi family, whom he has been investigating. Unfortunately, the Grandis soon take over the motel. And before long, Vargas begins to suspect that a local cop, Captain Hank Quinlan (Orson Welles), is secretly framing suspects in order to serve "justice" -- and he's willing to use Susie to get to Vargas.

Orson Welles was a brilliant actor and a legendary director, but that didn't keep the studio from meddling in his work. In this case, Universal decided to mess around with Welles' original cut by reshooting, replacing and adding new footage without his permission, which led to Welles writing a critical "memo" long enough to make your eyes bleed.
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