Wellesnet: The Orson Welles Web Resource

Universal Studios is readying "Touch of Evil" for domestic release on Blu-ray.

Wellesnet veteran Roger Ryan alerted us to a remark made by Michael Daruty, head of Universal’s Technical Operations, in TIME. While the article focused on the restoration and home video release of "Schindler's List," Daruty revealed that Welles' 1958 thriller is undergoing its own restoration.

"We have a commitment to restore 3 to 5 new prints a year. Right now, we’re working on ... Touch of Evil, High Plains Drifter, Double Indemnity – and we’ll probably add another title or two at the end of the year," Daruty said.

Daruty details Universal's restoration program in the (more...)

Touch of Evil will be screened at the Indianapolis Museum of Art on Friday, January 29 at 7:00 and director Peter Bogdanovich will be on hand to introduce the film and talk about working with Welles. After the screening Bogdanovich will be joined by James Naremore, the author of The Magic World of Orson Welles, to answer questions from the audience.

In an interview with Nuvo, the Indianapolis alternative newspaper, Scott Shoger asks Mr. Bogdanovich mostly Welles related questions, including when he thinks The Other Side of the Wind might be free from the many legal entanglements that have surrounded it for over 35 years.

NUVO: Do you think we’ll see The Other Side of the Wind this year?

PETER BOGDANOVICH: It’s so complicated I don’t even know where to begin. But to put it in a nutshell, (more...)

Richard Linklater's Me and Orson Welles had its New York City premiere on November 23, and the next day, on November 24, there was a dedication by Chris Welles Feder and Christian McKay of a plaque in memory of Orson Welles's Mercury Theatre which once stood at the site of the current building which now occupies the lot at 110 West 41st street.

That is why Wellesnet will be recalling some of the memories of the original cast members of Julius Caesar this week, beginning with these filmed recollections of one of the founding members of Orson Welles's Mercury Theatre company, Mr. William Alland.

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Part One: Meeting Welles, Theater and Radio

Part Two: Hollywood and Citizen Kane to Touch of Evil

Photos of William Alland and Orson Welles can be seen at Wellesnet's Facebook page HERE.

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William Alland most famously played the reporter Thompson in Citizen Kane, and was one of the original Mercury Theatre actors, having first met Welles early in his career in 1936. He then went on to play the part of Marullus in Julius Caesar, and joined the other Mercury Actors when they went to Hollywood. Alland debuted as a film actor in Citizen Kane and worked with Welles on several of his subsequent films, including playing one of the murderers in Macbeth.

Mr. Alland also had roles in many of Welles's radio shows, most notably playing several parts in the notorious War of the Worlds broadcast.

John McCarty, a colleague from Cinefantastique magazine, recently wrote to tell me he had filmed an long interview segment with Mr. Alland for a documentary project and had just recently placed it on YouTube for everyone to enjoy.

I asked John to write a short introduction for his documentary, The Man Who Pursued Rosebud, and he readily complied. In looking at Mr. Alland's comments, what I found especially interesting, is how his account of his first meeting with Orson Welles differed so greatly from what John Houseman recorded in his own autobiography, Run Though. Like the reporter he played in Citizen Kane, it seems William Alland and Mr. Houseman have two very different memories of how they first came to meet the great man!

So after you watch John McCarty's documentary, I have included the relevant comments from John Houseman's book, where he recalls his own take on how William Alland became a member of the Mercury Theatre.

It should also be noted that William Alland is portrayed in a featured part in Me and Orson Welles, by the actor Iain McKee. In the movie he is known only as "Vakhtangov" which is explained by Mr. Houseman in the excerpt from his autobiography.

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THE MAN WHO PURSUED ROSEBUD

By John McCarty

In 1994, I published a book titled The Fearmakers (St. Martin’s Press), a compendium of essay-profiles of twenty filmmakers who, in my opinion, had the greatest influence on the evolution of the terror-horror-suspense film genre from the silent era to the present (circa 1993). One of these filmmakers was Jack Arnold, the director of such enduring sci-fi/horror classics of the 1950s as It Came From Outer Space, Tarantula, The Creature of From the Black Lagoon, The Incredible Shrinking Man, and others.

Two years later, a Texas-based video production company contacted me about developing the book into a documentary series for the fast-growing home video market. Each half-hour segment would focus on one of these master fearmakers and include clips from their films as well as interviews with co-workers, cast members, film historians, and even the filmmakers themselves if they were still around. I signed on as narrator, script supervisor, co-director, interviewer, and chief cook and bottle washer.

After selecting a baker’s dozen from the twenty in my book for the thirteen segments that would be produced, I gave the producers a list of potential interviewees. For the segment on Jack Arnold, the interviewee I most hoped to get was William Alland, Universal’s “house producer” of science-fiction and horror films in the ‘50s – and, not unimportantly to me, the man who had played Jerry Thompson, the reporter in pursuit of the identity of “rosebud” in the Orson Welles masterpiece Citizen Kane.

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While Orson Welles spent time all over the world, and in at least five of the seven continents, I'm not quite sure if he ever made it to New Zealand or Australia.

However, I find it rather amazing that today, due to the internet, we can get input from people down under, just as easily as from a neighbor next door.

A perfect example of this is this interesting blog I just stumbled across from Christopher Banks, in New Zealand, who, like the Kiwi director Peter Jackson, obviously loves the work of Orson Welles.

The link to his site is here, which gives you an additional links to a very interesting article by Jonathan McCalmont, comparing TOUCH OF EVIL to CITIZEN KANE, complete with clips from YOU TUBE.

Here is the text of Christopher Banks recent post from his blog down under:

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Jonathan McCalmont has done an interesting post comparing elements of “Citizen Kane” and “Touch of Evil”. Some great insights into how the Wellesian style permeates two very different films, with particular regard to his clever use of sound.

(He also references the not-so-famed opening sequence of “Contact”, a film I’m also very fond of. What has happened to Robert Zemeckis these days?)

The combination of Welles’ backgrounds in radio and theatre - both very immediate media - made for some very exciting and dynamic films in “Citizen Kane” and also in the butchered masterpiece “The Magnificent Ambersons” as he brought the tricks of his earlier trades along with him to the cinema.

I can’t think of a better illustration of his passion for every frame of celluloid he exposed than his 58-page memo to Universal upon seeing what they’d done to the original release version of “Touch of Evil”. Without it, we would never have the restored version we have today.

The last holy grail from the Welles vault is his last narrative feature, “The Other Side Of The Wind”. Shot but never edited, it’s been stuck in various vaults for years while estate lawyers get their act together.

Given what is known about Welles’ frenetic and fast-paced intentions for the editing style, it will be a vast departure from his earlier work. Had it been released in 1972, it could well have been as ahead of its time as “Citizen Kane” was in 1941.

Orson Welles had a perception of everything in the film, including the music. He knew. He truly understood film scoring. ...Touch of Evil was one of the best things I've ever done.

—Henry Mancini

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While Orson Welles often had trouble in his dealings with producers and studio executives, he usually attracted the highest calibre of artistic collaborator, who would often turn in their best work for an Orson Welles film. This certainly was the case with Henry Mancini's score for Touch of Evil, even though Welles didn't choose him for the job, or even confer with him about the use of music in the movie. As Mancini relates in this excerpt from his autobiography Did They Mention the Music?, he was simply assigned to the picture by Joesph Gershenson, the head of the music department at Universal. Mancini then visited the set to observe Welles at work, but only met the director briefly, apparently when Welles was still working on his first cut of the picture.

However, Mancini's creative juices were still very much inspired by Welles, since the director had already written several memos to Joseph Gershenson explaining where and what type of music he wanted included in his movie. Unfortunately, by the time Mancini was actually composing the score, Welles was no longer a welcome presence on the Universal lot. As Welles later explained to Peter Bogdanovich: "The music, which I didn't have anything to do with, was, I thought, quite well done. But I wasn't there as I would normally be—like a mother hen, on every note."

It's also interesting to note that Mancini's Touch of Evil music was issued as his first movie soundtrack album, although by the time it appeared in record stores in late 1958, the film had already long been gone from movie theaters.

* Dedicated to Ray Sherman, solo pianist on TANYA'S THEME and THE BLUE (ANGEL) PIANOLA *

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As the camera roves through the streets of the Mexican bordertown, the plan was to feature a succession of different and contrasting Latin American musical numbers - the effect, that is, of our passing one cabaret orchestra after another. In honky-tonk districts on the border, loudspeakers are over the entrance of every joint, large or small, each blasting out it's own tune by way of a "come-on" or "pitch" for the tourists. The fact that the streets are invariably loud with this music was planned as a basic device throughout the entire picture. The special use of contrasting "mambo-type" rhythm numbers with rock 'n' roll will be developed in some detail at the end of this memo, when I'll take up details of the "beat" and also specifics of musical color and instrumentation on a scene-by-scene and transition-by-transition basis.

—Orson Welles, from his 58-page memo

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HENRY MANCINI ON SCORING TOUCH OF EVIL

From Did They Mention the Music? - Contemporary Books, 1989

I once referred to the music department at Universal as a salt mine. But it was a good salt mine, and younger composers in film today do not have access to that kind of on-the-job training. Being on staff there I was called upon to do everything. I mean, everything. Whenever they needed a piece of source music, music that comes from a source in the picture, such as a band, a jukebox, or a radio, they would call me in. I would do an arrangement on something that was in the Universal library, or I would write a new piece for a jazz band or a Latin band or whatever. I guess in every business you have to learn the routine—in film scoring, the clichés—before you can begin to find your own way.

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An Interview with

RICK SCHMIDLIN

The re-edit producer of ORSON WELLES' masterpiece TOUCH OF EVIL

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The following interview with Rick Schmidlin took place shortly after the re-edited version of the film debuted in 1998. Since that time I've not spoken with Rick, although I was quite happy that he posted many comments about his work on the Touch of Evil re-edit right here at the Wellesnet message board.

Now, I'm pleased to report that Rick has returned to the Wellesnet messageboard, and I'm sure he'll be willing to answer any questions about the new Touch of Evil DVD that readers may have for him. I'll also be speaking to him about the new Touch of Evil DVD shortly, so there will be an update to add to this interview in the near future.

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There are scenes in TOUCH OF EVIL I neither wrote nor directed, about which I know absolutely nothing. I’ve been working since I was 17, I’ve directed 8 films, and I’ve been able to edit only three of them myself: CITIZEN KANE, OTHELLO and DON QUIXOTE—in 17 years! They always tear the film out of my hands—violently. For my style, for my vision of the cinema, editing is not simply one aspect: it’s the aspect. The only time one is able to exercise control over the film is in the editing.

—Orson Welles, in a 1958 interview with Cahiers du Cinema

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LAWRENCE FRENCH: How did the re-editing and restoration of TOUCH OF EVIL come about?

RICK SCHMIDLIN: What happened was about four years ago I was trying to get a laserdisc done on TOUCH OF EVIL. I thought it would be a good idea, to do a laserdisc, the way other discs have been done on different Welles films. There could be commentary to document the different versions of the film. I then talked to a friend, Allen Daviau, (the cinematographer of E.T.) and asked him if he knew anything about TOUCH OF EVIL. He told me that there had been a recent article in Film Quarterly, that excerpted a memo from Orson Welles to Universal about the editing of the film, and I should talk to Jonathan Rosenbaum. So I talked to Jonathan, and looked at the short version of the memo, and found out there was a complete 58-page memo written by Welles, that still existed—indicating the editorial changes he wanted to make before the release of the film. So I met with my friend Louis Feola, the President of Universal Home video, and they decided it was a great idea, and then they decided to re–issue TOUCH OF EVIL theatrically.

LAWRENCE FRENCH: How did you find Welles 58-page memo?

RICK SCHMIDLIN: What happened was once we got the go-ahead, the project was put in the hands of Jim Waters and Bob O’Neil at Universal, and they put in a request to Lew Wasserman (the former chairman of Universal Studios) to see if they could find the memo. Within 48 hours Lew Wasserman had produced an copy of the original memo for us. Jonathan Rosenbaum and I are doing a book on TOUCH OF EVIL, for the UC Press, which will include the 58-page memo, as well as Orson Welles’ original screenplay. The book will have all the documents we worked with, because I want people to understand what we did (Due to rights issues the screenplay was unable to be included in the book and it never appeared.)

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Vargas: You framed that boy, Captain. Framed him!

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Firstly, Universal Home Entertainment must be greatly commended for finally releasing all three versions of Orson Welles's Touch of Evil on DVD. This is, in itself, a rather historic milestone and one which Criterion helped paved the way for, with it's own groundbreaking three-disc set for Mr. Arkadin. Perhaps now, Warner Home Video will step up to the plate and deliver worthy deluxe editions of Citizen Kane and The Magnificent Ambersons.

Ironically, this new 50th Anniversary edition of Touch of Evil was made possible by Beatrice Welles, whose earlier objections stopped much of the material on this new DVD from appearing on the first release in 2000.  Even if the extras had appeared on the earlier version, that DVD would not have contained the two earlier versions of the film, which is undoubtedly the most exciting aspect of this new release.

Looking back at Universal's original press release for the 2000 DVD of Touch of Evil, here is what it was supposed to contain:

* Reconstructing Evil: The Making of Touch of Evil - The 57 minute behind the scenes documentary, featuring interviews with stars Charlton Heston and Janet Leigh, and noted filmmkakes George Lucas, Robert Wise, Curtis Hanson and Peter Bogdanovich. Featuring in-depth explanation of the re-edits by the restored version's producer Rick Schmidlin and editor Walter Murch.

* The 58 page memo Orson Welles wrote to Universal Pictures, requesting changes to the 1958 theatrical release.

* An interview with Beatrice Welles (Orson Welles daughter).

* Never before seen outtakes.

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Orson is primarily an artist — a great one.

—Albert Zugsmith

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One of the great unsung heroes behind the making of Touch of Evil has to be Universal staff producer Albert Zugsmith. As can be seen in Zugsmith's comments below, he and Welles had a wonderful working relationship on the two pictures they made together and it was most probably due to Zugsmith that Welles got to shoot Touch of Evil with so little studio interference.

Unfortunately, Zugsmith had left Universal and moved over to MGM by the time Welles began editing Touch of Evil, so Zugsmith was no longer around to protect Welles from the meddling of studio executives. In fact, given Welles own comments about how much he looked forward to continue making films at Universal, one wonders if he may have been thinking about his talks with Zugsmith, who probably represented Universal to him. For his own part, Zugsmith was eager to continue making films with Welles.

The following interview with Zugsmith is taken from Todd McCarthy and Charles Flynn's wonderful 1975 book King of the Bs.

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ALBERT ZUGSMITH: The story on Orson is: I became sort of a troubleshooter and a script doctor at Universal. They’d throw me all the properties they were having difficulties with. There were also certain people I could handle, and work with. Jeff Chandler was becoming a bit difficult and he was their second biggest star at that time. I guess one of the reasons he was difficult was that he was the biggest, and then Rock Hudson came along! So they had me make some pictures with Jeff. They also had me make Westerns, which I'd kind of duck and avoid; they even made Ross Hunter make a Western, which was a terrible flop! It was the last picture Ann Sheridan ever made!

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Now that we can compare all three versions of Orson Welles’s Touch of Evil on DVD, here are the last twelve pages from Welles's original script, so we can see just how much Welles concept evolved during the actual shooting of the film. This script includes Welles changes up until February 16, 1957, two days before he actually started shooting the film on February 18, 1957.

As can be seen from these script pages, Welles took important dialogue sequences that he had originally crammed into the climax, and wisely transposed them to places earlier in the film. The two most notable being Quinlan’s clash with Vargas over how a policeman should conduct his job ("a policeman's job is only easy in a police state"), and Quinlan’s nostalgic, Bernstein-like remembrance of his young wife’s murder, which he still thinks about every day, as told to his long time friend and partner of 18 years, Pete Menzies.

Welles decision to move both of these scenes clearly helped the overall structure of the movie, by giving us important information on the characters' background earlier in the film, while keeping audiences from becoming too overloaded with information during the picture's climax.

The first transposed scene establishes Quinlan’s antagonistic attitude towards Vargas right off the bat, when they first meet during the investigation of Rudy Linnekar's car exploding. The second scene gives us the reason for Quinlan’s obsession with strapping murderers to the electric chair, explaining how the killer of Quinlan's young wife got away scot-free when Quinlan was just a rookie detective.

Of course, that is a device Welles claimed to have greatly abhorred in Citizen Kane – dollar book Freud he called it – but in reality, it works quite well in both Kane and in Touch of Evil.  After all, how else can you explain a great man's life in such a short period of time?  Likewise, how can we understand the reasons for Quinlan's actions, without a case history...  As a screenwriter, this is a very quick and effective device for explaining Quinlan's "compulsion" to frame his murder suspects.

There is also a wonderful bit when Quinlan asks Menzies if he recalls one of their past cases,  where Mr. Burger killed Mrs. Burger with an axe in the basement, chopping her into bloody bits.  While it didn’t make it into the film, it certainly gives the movie one more “touch” of Hitchcock, right before Janet Leigh made Psycho in a very similar California motel only a year later.

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The script excerpt below begins as Menzies approaches Tanya's to get the drunken Quinlan out of her establishment, so he can tape Quinlan's confession without the pianola music ruining the recording. But in this version of the script Tanya has not yet been fully developed; instead she is called "Mother Lupe" and it is easy to imagine Welles using Katina Paxtinou for the part of "Mother Lupe," if Dietrich should have turned him down. It is also significant that Welles includes almost no indication of any of the visual stylistics or camera shots he was to actually use in the climax of his movie. Clearly, the elaborate camera work he would eventually employ was to be based almost entirely on the locations that he had found in Venice, CA, so there was no need to include camera instructions that would be dictated by the locations - other then a vague suggestion of what Welles might want to accomplish in the scene.

Welles told Andre Bazin some of the reasons why he shot the scene as he did, in these interview comments from Cahiers du Cinema in 1958:

ORSON WELLES: Vargas has to go through this labyrinth, among the derricks, because he is the intruder; it's a scene where there is no place for him. Two old friends are talking; if they saw Heston, nothing would happen. I therefore thought he ought to look as though he was having a hard time of it, laboring, as one labors to dig up gold, climbing, like one climbs a mountain. This kind of job doesn't suit him and he detests it, as he says to Menzies: at this moment Vargas loses his integrity. He is therefore thrown into a world in which he does not morally belong; he becomes the low kind of person who listens at doors and he isn't able to do it. I've therefore tried to make it as though the machine were leading him, so that he is the victim of that, rather than of his own curiosity. He isn't very familiar with how to use the recording machine, and he just follows it and obeys it, because this thing doesn't belong to him; he's not a spy, he isn't even a cop.

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To introduce Mercedes McCambridge's comments about her one day of work with Orson Welles on Touch of Evil, I think it's interesting to note that although she had won an Academy Award, she was not deemed worthy enough by Universal to be listed alongside Marlene Dietrich and and Zsa Zsa Gabor as one of the guest stars in the picture.

It's also clear that both Dietrich and McCambridge agreed to appear in the film without any studio deal in place, or even any kind of payment. They just showed up for a day, or a night of filming, after Welles asked them to appear in the film as a favor to him. The studio had no knowledge of their participation, nor, we can assume, did the actresses agents, since if they did, they would have probably scotched their appearance without a firm contract in place.

Of course, this was back in 1957, when actors weren't under such strict control by their agents and managers. By 1982, no major actor would agree to appear in The Big Brass Ring, written and to be directed by Welles, even if they wanted to work with him, since their agents would certainly have "advised" them to turn down the "paltry" $2 million fee. After all this was a time when Jack Nicholson was being offered $4 million or more to make more "commercial" films.

Unfortunately, the 10% difference between what Welles could offer a leading actor in 1982 and what those top actor's agents could get, would amount to a difference of at least $200,000. So it's not very surprising to see why The Big Brass Ring never got made.

Which is why it is so refreshing to read Mercedes McCambridge's comments, below.  She wasn't interested in what kind of money she would get in her "deal" since there wasn't one. Nor were Dietrich, Janet Leigh, or Charlton Heston. They all simply wanted to work with Welles as their director. Today such a concept seems almost beyond belief! Of course, Welles himself agreed to work as director on Touch of Evil essentially for free, since he was already being paid as an actor. Sadly, by 1982, deal making in Hollywood had changed to such a degree, a Orson Welles project on the level of Touch of Evil, like The Big Brass Ring, was simply no longer a viable proposition.

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MERCEDES McCAMBRIDGE on making TOUCH OF EVIL

One day in Hollywood, when I was minding whatever was my own business, of the moment, the phone rang, and it was Orson Welles. He was filming Touch of Evil in the late fifties, and he wanted to know if I could come out to the set in time for lunch. Sure I could. Did I have a pair of black slacks and a black sweater? Sure I had. Did I have a black leather jacket? I said I wouldn't be caught dead in a black leather jacket. He said never mind, come anyhow. I went.

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As Marlene Dietrich reports in her autobiography, MARLENE, the Academy Awards have had a long history of embarrassing mistakes.

A prime example of this occurred in 1933, when a movie called CALVACADE won best picture. Does any movie goer alive actually remember this forgotten film? That same year a little picture called KING KONG received NO nominations whatsoever! Has any movie goer alive NOT forgotten KING KONG?

Of course, it's quite understandable why most of the greatest icons of the cinema, like Alfred Hitchcock, Marlene Dietrich, Cary Grant, Greta Garbo, Marilyn Monroe and Orson Welles never actually won competitive Oscars when they were in their prime: Envy. The Academy Awards were (and still are) examples of politics and popularity within the rather insular world of Hollywood. They are a collective vote, so to suggest they have any individual measure of real lasting artistic worth or merit is absurd. Which is why I'm always astonished when someone is surprised by who hasn't been included in the nominations. Let's face it, based on their respective Academy Award nominations, Orson Welles career would have been over in 1942, and Marlene Dietrich's in 1931!

So here is Ms. Dietrich's own take on the Academy Awards, followed by her memories of working with her great friend Orson Welles in 1957, on TOUCH OF EVIL:

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What must one do to receive an Oscar?

MARLENE DIETRICH: Play biblical characters, priests, and victims of sad and tragic disabilities, such as blindness, deafness, muteness or different varieties thereof, or alcoholism, insanity, schizophrenia, and other mental disorders, which have already been seen in successful films. The more tragic the disability, the greater the chance of grabbing an Oscar.

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In 1958, the year Touch of Evil and Vertigo were released, these were the nominees for best picture: Auntie Mame, Cat on a Hot Tin Roof, The Defiant Ones, Gigi (the winner) and Separate Tables.

Besides Richard Brooks bowdlerized version of Tennessee William's great play, I don't own any of these pictures. I certainly don't think any of them is better than Touch of Evil or Vertigo. 50 years later, I don't think any serious film historian would dispute that, except perhaps for the members of the Academy who never saw fit to give Welles, Hitchcock, Kubrick or Hawks an Oscar as best director. In fact, looking back, here are five superior films from 1958 that should have been nominated:Touch of Evil, Vertigo, Man of the West, Bonjour Tristesse and Nazarin.

Of course, back in 1958, it is understandable how the Academy could actually manage to ignore Touch of Evil given the way it was released. Yet, how in this 50th Anniversary year, they could still ignore the film and all the other very major mistakes they made in their 1958 awards, seems to defy logic, but I can still understand it (see Mr. Arkadin's fable about the Scorpion and the frog.)

So in 1958 Touch of Evil received no nominations. Alfred Hitchcock's great masterpiece, Vertigo, received two nominations, for art direction and sound, but won in neither category. Ray Harryhausen's The 7th Voyage of Sinbad also failed to get a nod for it's groundbreaking special effects. In the music category, two of Bernard Herrmann's greatest scores were totally overlooked in favor of Dimitri Tiomkin's mediocre The Old Man and the Sea ! And Russell Metty's great black and white camerawork was considered lesser than the five nominated films for best cinematography. Clearly the Academy was wrong about many of the "best" films of 1958. The three they are most wrong about will all be released on October 7th in 50th anniversary DVD editions.

In 1958, the Academy's big winner was Vincente Minnelli's Gigi, a film so far behind the work of Hitchcock and Welles, one can only wonder how the Academy can seriously offer up a salute to Leslie Caron (on October 10th with a sold-out screening of Gigi) on the 50th anniversary of their idiotic mistakes, while still ignoring the 50th anniversary of Touch of Evil, Vertigo and The 7th Voyage of Sinbad !

Well, as Oscar Wilde said, "We learn nothing from experience believe me. Experience is merely the name men give to their mistakes. And all it really demonstrates is that our future will be the same as our past. And that the sin we did once and with loathing we will do many times and with joy."

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