tag:blogger.com,1999:blog-6956070.post5132427660860633537..comments2023-11-03T11:37:13.579-04:00Comments on Something Old, Nothing New: Screw The Director's VisionJaime J. Weinmanhttp://www.blogger.com/profile/15128500411119962998noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-6956070.post-6883822668801872532007-08-22T16:30:00.000-04:002007-08-22T16:30:00.000-04:00It didn't help, I think, that Universal production...<I>It didn't help, I think, that Universal production head Edward Muhl deeply disliked TOUCH OF EVIL</I><BR/><BR/>Right, but we should also remember that <A HREF="http://www.brightlightsfilm.com/48/sirkzuckzug.htm" REL="nofollow">Zugsmith liked and admired Ed Muhl</A> (who appears to have been the only guy who would hire Zugsmith to produce "A" pictures) and it's possible that he supported or agreed to Muhl's demand for changes. Or maybe not. We don't really know, I guess.Jaime J. Weinmanhttps://www.blogger.com/profile/15128500411119962998noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-2637276573337278672007-08-22T16:27:00.000-04:002007-08-22T16:27:00.000-04:00I have to admit that for whatever reason "Touch of...I have to admit that for whatever reason "Touch of Evil" has never done it for me. I don't know why--I've enjoyed everything else of Welles that I've seen. I remember hearing about the the famous long opening shot and being really let down when I finally saw it. It calls attention to itself but the long shot doesn't seem to add anything. I think it's what you said--we don't know anyone yet, so there's no tension. It also bugs me that Heston and Leigh react before the bomb goes off, and then we get an insert shot of burning car that doesn't match up with anything.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-28948741450760775602007-08-22T13:44:00.000-04:002007-08-22T13:44:00.000-04:00I would to some degree differentiate "the studio,"...I would to some degree differentiate "the studio," and "the producer," here, because Welles was always careful to specify that "the studio" interfered and demanded changes. If Welles had believed that Albert Zugsmith had instigated the changes on his own and had personal responsibility for involving Ernest Nims and Harry Keller in re-structuring and re-shooting, I think he would have said so. It didn't help, I think, that Universal production head Edward Muhl deeply disliked TOUCH OF EVIL -- in an interview decades later, he reiterated his disdain for the film.<BR/><BR/>While I admire the work that went into the re-structured version of TOUCH, I'm glad I still have a laserdisc of the 108 minute version of the movie, and I wish I had a copy of the 96 minute version -- the version that I remember most vividly from many tv airings and revival house screenings. Hopefully U will eventually get around to releasing the needed dvd special edition including all three versions of the movie, as well as the rarely screened documentary about the film, suppressed by Beatrice Welles' legal actions.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-4985478604248104902007-08-21T22:03:00.000-04:002007-08-21T22:03:00.000-04:00Fascinating. I haven't seen this since film school...Fascinating. I haven't seen this since film school.<BR/><BR/>You make a lot of good points, and though I will admit while watching the studio version I was less 'anxious' and the titles took my eye away from 'watching the car', it still felt more like the opening of a movie. And the music/score helped. <BR/><BR/>Effin' directors. I swear I've yet to see a 'director's cut' release of a film that dramatically improved on the original... whatever original. More often than not the scenes that were cut either were superfluous or slowed the pace down or were just 'look at my pretty shot/camera' move.<BR/><BR/>The best 'directed' movies have always been the ones where the 'director' was invisible, IMHO.wcdixonhttps://www.blogger.com/profile/06511429457006302795noreply@blogger.com