Touch of Evil/last for Welles & the US genre

ATP

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I have seen Touch of Evil (TOE)(1957) for the 3rd-4th time now-the 1998 restored version.

I really like film noir of the classic period, and I like this film. This was Welles' last film in Hollywood, and the last of the classic genre made in the US (I believe).

No-one serious about film fails to mention the great 3 min 20 sec opening tracking shot. And the dialogue. Interestingly, he took only 2 weeks to write the adaptation.

Overall, as director, writer and actor, Welles did very well with this piece. In some ways, I prefer it to Citizen Kane.

I think that TOE is one of those films you watch repeatedly to learn the art of a much underated and unfairly maligned craftsman.

The only thing that I have with this - and maybe many films I like - is that it seems that I have to have repeated viewings to deconstruct it, and then gradually reconstruct it. Takes a bit of the enjoyment out of watching a film, but is important if you want to get to know how to write and create a good one. Perhaps I should start reading printed scripts a bit more...

Who here has seen it? And what are your feelings about TOE? And Welles? I gather not many...

Or are most of you here 25 and under, without an extensive background in 'early' and 'classic' film???
 
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ricetalks

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I've seen it and, yes, the opening tracking shot is probably one of the greatest opening shots in a film, ever. Especially when you consider when it was done.

You've got to keep in mind that Citizen Cane was done much earlier.
 

zeprosnepsid

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My biggest problem with Welles is his editing. It's rhythmic, but it's the same rhythm constantly throughout all his films. So generally I think the movies are brilliant for the first 1/2 hour until the rhythm gets seriously monotonous and I lose interest.
 

ATP

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My biggest problem with Welles is his editing. It's rhythmic, but it's the same rhythm constantly throughout all his films. So generally I think the movies are brilliant for the first 1/2 hour until the rhythm gets seriously monotonous and I lose interest.

I seem to remember that you were a film student, Zep? Is this correct?
Could you elaborate on this rhythm? Describe it? I would have thought that all others such as Welles have their 'signature method'?
 

ATP

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I'd love to see the complete Magnificent Ambersons but all that has survived is the studio execs butchered version.

I have heard much about MA, but am yet to see it. What about his other flicks?-besides Kane. Seen any of these?
 

donroc

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Yes, I probably have seen all of his films. I have heard it said that the Ambersons could have been greater than Kane if he had control of the final cut. As it is, it is still a good, interesting film.
 

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zeprosnepsid

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I seem to remember that you were a film student, Zep? Is this correct?
Could you elaborate on this rhythm? Describe it? I would have thought that all others such as Welles have their 'signature method'?

It's essentially like '1,2,3,cut. 1,2,3,cut.' with no variation throughout the film. It's more evident in the films he had more control over. Probably the worst offender is F is for Fake. Which, like almost all his movies, I think is completely brilliant for the first 1/2 hour until it numbs me into disinterestedness with the cutting.

I don't know that that explains it very well, if you watch that film it's hard to miss. Then if you go backwards and watch the other films you'll see it's presence. It just doesn't allow for ups and downs. Everything is at the same pace. It makes me unable to watch a lot of his films in one sitting. The music tries to create fast paced excitement and slower moments, but it's undone by the cutting which treats every moment alike. It's the least oppressive in Kane because you're never in one scene for too terribly long. But for things like The Trial and Touch of Evil where some of the scenes are very long, it's really problematic. The Trial is one of my favorite Welles but also probably his most boring film.