banda sonora - inglês # dobragem - castelhano
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Enviado por Micho904 em 05/12/2011
Un agente de la policía de narcóticos (Heston) llega a la frontera mexicana con su esposa justo en el momento en que explota una bomba. Inmediatamente se hace cargo de la investigación contando con la colaboración de Quinlan (Welles), el jefe de la policía local, muy conocido en la zona por sus métodos expeditivos y poco ortodoxos. Una lucha feroz se desata entre los dos hombres, pues cada uno de ellos tiene pruebas contra el otro.
There are two stories as to how Welles ended up directing Touch of Evil. Charlton Heston recalled that Welles was originally hired to act in the film only, not to direct or write. Universal was keen to secure Heston for the lead, but he wanted the studio to confirm the director before he signed on. After learning that Welles was in the cast, Heston expressed his greater interest in starring if Welles were directing. The other story is that Welles had recently worked with producer Albert Zugsmith, known as the "King of the Bs", on a film called Man in the Shadow and was interested in directing something for him. Zugsmith offered him a pile of scripts, of which Welles asked for the worst to prove he could make a great film out of a bad script. At the time, the script was calledBadge of Evil, after a Whit Masterson novel on which it was based. Welles did a rewrite and took it into production. After a decade in Europe during which he completed only a few films, Welles was eager to direct for Hollywood again, so he agreed to take only an acting fee for the role of Quinlan.[3][4]
A number of notable actors pop up in minor roles. Dennis Weaver plays a mentally unbalanced night clerk at an isolated motel. Welles liked Weaver as Chester on TV's Gunsmoke and worked closely with him on his part, which was shot on a three-day hiatus from the TV show. Zsa Zsa Gabor, who appears briefly as the impresario of a strip club, was a friend of the producer. Welles's old friend Joseph Calleia portrays Quinlan's betrayed partner. Many of the actors worked for lower wages just to make a film with Welles. Marlene Dietrich's role was a surprise to the producers and they raised her fee so they could advertise her involvement. Welles' friend and Mercury Theater colleague, Joseph Cotten, appears uncredited as a police officer.
Janet Leigh recalled how Welles asked for input from the actors in the cast:
"It started with rehearsals. We rehearsed two weeks prior to shooting, which was unusual. We rewrote most of the dialogue, all of us, which was also unusual, and Mr. Welles always wanted our input. It was a collective effort, and there was such a surge of participation, of creativity, of energy. You could feel the pulse growing as we rehearsed. You felt you were inventing something as you went along. Mr. Welles wanted to seize every moment. He didn't want one bland moment. He made you feel you were involved in a wonderful event that was happening before your eyes."[5]
Welles wrapped production on time, delivered a rough cut to Universal, and was convinced that his Hollywood career was back on the rails. However, the film was then re-edited (and in part re-shot) by Universal International pictures. The editing process was protracted and disputed, and the version eventually released was not the film Universal or Welles had hoped for. It was released as a B-movie, the lower half of a double feature. The A-movie was The Female Animal, starring Hedy Lamarr, produced by Albert Zugsmith and directed by Harry Keller, whom the studio had hired to direct the re-shot material in Touch of Evil. The two films even had the same cameraman, Russell Metty. Welles's film was given little publicity despite the many stars in the cast. Though it had little commercial success in the US, it was well-received in Europe, particularly by critics like future filmmaker François Truffaut.
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". The film was placed #64 on American Film Institute's 100 Years, 100 Thrills.
The opening scene is replicated midway through Brian De Palma's 1974 camp musical film Phantom of the Paradise. De Palma's version involves a prop car on a theatrical stage being pushed out of the wings with a time-bomb in the trunk and an increasingly panicky blonde passenger. The novel approach here is that De Palma's take was shot in split-screen with Paul Williams's Swan character and the Phantom alternately observing the histrionics from the balcony and proscenium, respectively. (Wikipedia)
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