TOUCH OF EVIL (1958)
Randwick Ritz, Sydney:
7:10 PM
Friday May 02*
3:40 PM
Monday May 05
11:30 AM
Tuesday May 06
Lido Cinemas, Melbourne:
7:15 PM*
Friday May 09
3:30 PM
Tuesday May 13
*denotes session will include an introduction
Rating: M
Duration: 111 minutes
Country: United States
Language: English
Cast: Charlton Heston, Janet Leigh, Orson Welles, Marlene Dietrich
Director: Orson Welles
SYDNEY TICKETS ⟶
MELBOURNE TICKETS ⟶
7:10 PM
Friday May 02*
3:40 PM
Monday May 05
11:30 AM
Tuesday May 06
Lido Cinemas, Melbourne:
7:15 PM*
Friday May 09
3:30 PM
Tuesday May 13
*denotes session will include an introduction
Rating: M
Duration: 111 minutes
Country: United States
Language: English
Cast: Charlton Heston, Janet Leigh, Orson Welles, Marlene Dietrich
Director: Orson Welles
SYDNEY TICKETS ⟶
MELBOURNE TICKETS ⟶
4K RESTORATION – AUSTRALIAN PREMIERE
“Touch of Evil is one of the standard-bearers for the kind of eye-catching, bravura camera work Welles favoured. Expressionistic in the extreme, filled with shadows, angles and cinematic flourishes, the film raises the usual brooding nightmare ambience of film noir to a level few other pictures have attempted”. – Kenneth Turan, Los Angeles Times
“Beginning with one of the most celebrated tracking shots in cinema history, a three-minute take in which a bomb is planted in a car that then explodes after crossing the US border, Welles created a baroque, highly stylised masterpiece from inauspiciously pulpy source material. With its story of murder, marijuana and police corruption, Touch of Evil is considered among the last of the 1940s/50s cycle of crime thrillers known as film noir. Welles’ vivid turn as corpulent bent cop Quinlan provided one of the genre’s most memorable villains.” (BFI citation for the Greatest Films of All Time Poll, 2022)
Welles returned to Hollywood after a decade long absence first to accept the part of Police Chief Hank Quinlan who solves his cases with … just a touch of evil, but eventually to take on the job of re-writing the script and directing the movie. Cut and re-edited by the studio, it took decades before the film was first reconstructed and even longer for a 4K restoration was made and premiered at Bologna’s Il Cinema Ritrovato in June 2024.
Introduced by Claude Gonzalez at Ritz Cinemas and Adrian Danks at Lido Cinemas
“Touch of Evil is one of the standard-bearers for the kind of eye-catching, bravura camera work Welles favoured. Expressionistic in the extreme, filled with shadows, angles and cinematic flourishes, the film raises the usual brooding nightmare ambience of film noir to a level few other pictures have attempted”. – Kenneth Turan, Los Angeles Times
“Beginning with one of the most celebrated tracking shots in cinema history, a three-minute take in which a bomb is planted in a car that then explodes after crossing the US border, Welles created a baroque, highly stylised masterpiece from inauspiciously pulpy source material. With its story of murder, marijuana and police corruption, Touch of Evil is considered among the last of the 1940s/50s cycle of crime thrillers known as film noir. Welles’ vivid turn as corpulent bent cop Quinlan provided one of the genre’s most memorable villains.” (BFI citation for the Greatest Films of All Time Poll, 2022)
Welles returned to Hollywood after a decade long absence first to accept the part of Police Chief Hank Quinlan who solves his cases with … just a touch of evil, but eventually to take on the job of re-writing the script and directing the movie. Cut and re-edited by the studio, it took decades before the film was first reconstructed and even longer for a 4K restoration was made and premiered at Bologna’s Il Cinema Ritrovato in June 2024.
Introduced by Claude Gonzalez at Ritz Cinemas and Adrian Danks at Lido Cinemas
FILM NOTES
By Rod Bishop
By Rod Bishop
Rod Bishop has been an educator, writer and filmmaker.
ORSON WELLES
Before Citizen Kane jet-propelled Orson Welles towards his reputation as the world’s “ultimate film auteur”, his work in theatre and radio during the 1930s had provoked some muttering: ‘There but for the Grace of God, goes God’. (1)
In 1936 at 20 years old, he directed a stage version of Macbeth – known as the Voodoo Macbeth – with a cast of 150 African-Americans. The first run of ten weeks sold out in Harlem and caused the closing of five city blocks around the theatre on opening night. The mammoth production then played across ten States in the USA to great acclaim and full houses.
Throughout 1937 and 1938, Welles produced plays with his Mercury Theatre Company in New York City, where one actor in the company, Norman Lloyd, reflected: ‘When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest.’ (2)
During this period, Welles earned most of his income from radio, where he worked as an actor, writer, director and producer. In 1938, at 22, he achieved worldwide notoriety and controversy by adapting H.G. Wells’ The War of the Worlds for radio and scaring thousands of Americans into believing Martians had invaded their country.
At the time, The Age newspaper in Melbourne reported the event:
‘MASS HYSTERIA IN THE USA Radio Broadcast Panic. Never in the history of the United States has such a wave of terror and panic swept the continent…a Pittsburgh businessman returned home during the broadcast and snatched a bottle of poison from his wife’s hands. The police struggled to calm thousands screaming and praying…many wearing cloths around their faces to counter the Martians’ gas. Two persons died of heart failure…Mass hysteria spread across the nation like a flame…Many declared they had seen the Martian monsters and described the explosions from the deathray, which shrivelled the troops sent against them… observers commented the panic could only have happened in America and contrasted London’s calmness during the recent real threat of war…Orson Welles who produced the play was a little dazed “We were doubtful about broadcasting the play, thinking perhaps the people would be bored listening to a story so improbable.”’ (3)
Welles believed that the infamy of The War of the Worlds triggered the offer from Hollywood to grant him total control over any film he wished to make. After all, it would be difficult to argue against the potential of this wunderkind’s story-telling skills.
At 25 years old, Welles promptly set about vivisecting one of America’s most famous figures, the media baron William Randoph Hearst. Despite nine Academy Award nominations, Citizen Kane (1941) bombed at the box office and many in Hollywood, who resented the final cut privileges given to the arrogant boy wonder, were glad to see this upstart come undone.
History, of course, was to prove Welles right. The film became his greatest triumph and for forty years (1962-2002) it remained ossified in top spot of Sight and Sound’s prestigious poll as the Greatest Film Ever Made.
After Kane, however, nothing would be the same again for Welles.
He lost control of his next film, The Magnificent Ambersons (1942), as RKO Pictures hacked out 45 minutes and tacked on a happy ending. Welles said: ‘They destroyed Ambersons and it destroyed me’. (4) Filmmaker Brian Rose reports that, of the 73 shots in the original film, 21 were either cut completely or reshot, 39 were shortened and only 13 left intact. RKO also deliberately destroyed the footage edited from the film, releasing an 88-minute version of Welles’ original 132-minute cut. (5)
The Stranger (1945) escaped studio interference but Macbeth (1948) was shortened; The Lady from Shanghai (1947) was extensively re-edited and re-shot; several versions of Mr. Arkadin (1955) were released; and Touch of Evil (1958) was re-edited, prompting Welles to write a pleading 58-page memo to re-instate his version of the film.
Of the films Welles completed in his lifetime, he only remained in control over Citizen Kane, The Stranger, The Trial (1962), F for Fake (1973), Chimes at Midnight (1965) and The Immortal Story (1968), the latter four all made in Europe.
As critic David Eggert wrote: ‘Welles stands in for every visionary director who has ever battled the monster of the Hollywood System and found themselves defeated…Meddling studio executives, budgetary troubles, and creative differences left the filmography of this greatest of all auteurs, riddled by films taken from him, recut and reformatted, and released in a manner against his wishes.’ (6)
In 1936 at 20 years old, he directed a stage version of Macbeth – known as the Voodoo Macbeth – with a cast of 150 African-Americans. The first run of ten weeks sold out in Harlem and caused the closing of five city blocks around the theatre on opening night. The mammoth production then played across ten States in the USA to great acclaim and full houses.
Throughout 1937 and 1938, Welles produced plays with his Mercury Theatre Company in New York City, where one actor in the company, Norman Lloyd, reflected: ‘When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest.’ (2)
During this period, Welles earned most of his income from radio, where he worked as an actor, writer, director and producer. In 1938, at 22, he achieved worldwide notoriety and controversy by adapting H.G. Wells’ The War of the Worlds for radio and scaring thousands of Americans into believing Martians had invaded their country.
At the time, The Age newspaper in Melbourne reported the event:
‘MASS HYSTERIA IN THE USA Radio Broadcast Panic. Never in the history of the United States has such a wave of terror and panic swept the continent…a Pittsburgh businessman returned home during the broadcast and snatched a bottle of poison from his wife’s hands. The police struggled to calm thousands screaming and praying…many wearing cloths around their faces to counter the Martians’ gas. Two persons died of heart failure…Mass hysteria spread across the nation like a flame…Many declared they had seen the Martian monsters and described the explosions from the deathray, which shrivelled the troops sent against them… observers commented the panic could only have happened in America and contrasted London’s calmness during the recent real threat of war…Orson Welles who produced the play was a little dazed “We were doubtful about broadcasting the play, thinking perhaps the people would be bored listening to a story so improbable.”’ (3)
Welles believed that the infamy of The War of the Worlds triggered the offer from Hollywood to grant him total control over any film he wished to make. After all, it would be difficult to argue against the potential of this wunderkind’s story-telling skills.
At 25 years old, Welles promptly set about vivisecting one of America’s most famous figures, the media baron William Randoph Hearst. Despite nine Academy Award nominations, Citizen Kane (1941) bombed at the box office and many in Hollywood, who resented the final cut privileges given to the arrogant boy wonder, were glad to see this upstart come undone.
History, of course, was to prove Welles right. The film became his greatest triumph and for forty years (1962-2002) it remained ossified in top spot of Sight and Sound’s prestigious poll as the Greatest Film Ever Made.
After Kane, however, nothing would be the same again for Welles.
He lost control of his next film, The Magnificent Ambersons (1942), as RKO Pictures hacked out 45 minutes and tacked on a happy ending. Welles said: ‘They destroyed Ambersons and it destroyed me’. (4) Filmmaker Brian Rose reports that, of the 73 shots in the original film, 21 were either cut completely or reshot, 39 were shortened and only 13 left intact. RKO also deliberately destroyed the footage edited from the film, releasing an 88-minute version of Welles’ original 132-minute cut. (5)
The Stranger (1945) escaped studio interference but Macbeth (1948) was shortened; The Lady from Shanghai (1947) was extensively re-edited and re-shot; several versions of Mr. Arkadin (1955) were released; and Touch of Evil (1958) was re-edited, prompting Welles to write a pleading 58-page memo to re-instate his version of the film.
Of the films Welles completed in his lifetime, he only remained in control over Citizen Kane, The Stranger, The Trial (1962), F for Fake (1973), Chimes at Midnight (1965) and The Immortal Story (1968), the latter four all made in Europe.
As critic David Eggert wrote: ‘Welles stands in for every visionary director who has ever battled the monster of the Hollywood System and found themselves defeated…Meddling studio executives, budgetary troubles, and creative differences left the filmography of this greatest of all auteurs, riddled by films taken from him, recut and reformatted, and released in a manner against his wishes.’ (6)
THE FILM
Orson Welles returned to Hollywood in 1958 after a ten year absence and set about transforming a minor American novel – described by Francois Truffaut as a ‘woefully poor little detective story’ – into an operatic film noir. (7)
Crowded, festering main streets and desolate, scary back alleys are the backdrop to Welles’ fictional Mexican border town of Los Robles. There are bars, strip clubs, cheap motels and destitute hotels. His cast are strippers, soldiers, youth gangs, sexual psychopaths, gringos, Chicanos, and good and bad cops. Below the surface, it’s a boiling cauldron of race, oil, sex, drugs, implied rape and murder.
Welles often played powerful men in the films he directed, particularly Charles Foster Kane, Macbeth, Gregory Arkadin and, in Touch of Evil, Hank Quinlan, ‘a great detective’, but ‘a lousy cop’. They were powerful men with imploding personalities, overwhelmed by doubts and failings, their maliciousness eventually defeated by their destinies. Fate is a major factor in film noir and Quinlan has it in spades.
Hugely overweight and physically repulsive, Quinlan has been counteracting his eighteen-year abstinence from alcohol by eating candy bars; his bitterness with the world is motivated by an old trauma, the unsolved murder of his wife thirty years ago; he hates Mexicans; he justifies his corrupt ways by claiming he never framed ‘nobody who wasn’t guilty’; and when he asks old friend Tanya (Marlene Dietrich) for a Tarot reading of his future, he is told ‘You haven’t got any. Your future is all used up’. Lawrence Russell has described Welles’ portrait of Quinlan as ‘a bloated beast of American corruption’. (8)
Quinlan is offset by the Mexican cop Ramon Miguel ‘Mike’ Vargas (Charlton Heston) and his American wife Susan (Janet Leigh). Vargas is investigating drug dealing in Los Robles, and Quinlan is trying to frame a suspect he believes is a murderer. They have diametrically opposed views of policing. It’s a debate over the ends justifying the means, and in Welles’ noir world, it becomes less about some good existing in criminals and more about the pervasive presence of criminal evil.
Born at the start of World War II, film noir mixed up numerous influences, including German expressionism and hard-boiled American crime fiction. As disillusioned war veterans returned home, their bitter experiences helped to propel noir’s fatalist, doom-laden view of life, until 1958 when noir concluded with Touch of Evil. Filmmaker Paul Schrader called it ‘film noir’s epitaph’. (9)
Noir’s uniqueness lay in its bracing antidote to the feel-good/happy endings of Hollywood films during the 1940s and 1950s. It is often mistakenly called a genre – like rom-coms, westerns, science fiction or horror. Noir is a film movement, like German expressionism, Italian neorealism and the French New Wave, with agreed-upon historical periods and starting and ending dates. Like other film movements, noir films share thematic narratives, societal issues and artistic flourishes while often challenging the conventional filmmaking practices of the day.
Welles made four noirs in this period – the other three are The Stranger (1945), The Lady from Shanghai (1948) and Mr. Arkadin (1955) – but he also made earlier contributions in his behemoth first film, Citizen Kane (1941): handheld cameras, shooting on location, chiaroscuro lighting, hard-boiled dialogue, flashback structures, German expressionist imagery and moral ambiguities.
Although Kane isn’t commonly regarded as the start of film noir – Schrader gave that accolade to The Maltese Falcon – both films were released in 1941. If Kane had not been so narratively biographical, an argument could be made that Welles was there at the start of film noir, as well as its middle and its end.
Like so many of Welles’ films, Touch of Evil bombed at the box office when first released. It was relegated to “B” film status at the bottom half of a double bill with a Hedy Lamarr film, The Female Animal (1958) and, like many of his Hollywood films after Citizen Kane, it had been hacked by the studio. Seeing the first studio rough cut, Welles wrote a 58-page memo to Edward Muhl, head of production at Universal Pictures, pleading for the changes to image and sound he felt should be made.
A 109-minute ‘preview version’ was made before a 96-minute version was released in 1958. It became the only version available for the next 20 years and included scenes not shot by Welles and with 15 minutes of his material excluded. In the mid-1970s the ‘preview version’ was unearthed and released. Another 20 years would pass until 1998, when the reconstructed and restored version was made, 13 years after Welles’ death. Working as closely as possible with Welles’ 58-page memo from 1957, the reconstruction was produced by Rick Schmidlin and edited by Walter Murch with film scholar Jonathan Rosenbaum as consultant.
Any discussion about directors who changed cinema forever always includes Welles. His effect on film noir was also profound, and Touch of Evil is regarded as his noir masterpiece. Welles’ constantly moving, hyperactive camera, tilted angles and exploding patterns of shadows all contribute to a mash-up of noir’s visual style, before he set about reconstructing it.
His characters are far more complex, more varied and exhibit greater psychological complexity than most in the film noir movement. His noir influences can also be found in many of his other films, such as The Trial, Macbeth and Othello with their nightmare entrapments, expressionist cinematography, crazed angles and esoteric settings.
There is nothing in the cinema quite like Touch of Evil, Orson Welles’ epitaph to film noir.
And there’s nothing in the cinema quite like Tanya’s eulogy for Quinlan at the end of the film: ‘He was some kind of a man…What does it matter what you say about people?’
Notes
1. David Thomson, ‘Mank’, The Guardian, 19 November 2020, citing Herman J. Mankiewicz.
2. Quoted in Ryan Lattanzio, ‘Orson Welles’ World, and we’re just living in it: A Conversation with Norman Lloyd’, EatDrinkFilms.com, 19 September 2015.
3. The Age, 2 November 1938, p. 14.
4. Dalya Alberge, ‘The Magnificent Ambersons’, The Guardian, 18 June 2023.
5. Alberge, as above.
6. Brian Eggert, ‘Touch of Evil’, Deep Focus Review, 20 May 2009.
7. François Truffaut, The Films in My Life, trans. Leonard Mayhew, Simon and Schuster, New York, 1975, p. 289.
8. Lawrence Russell, ‘Touch of Evil’, culturecourt.com, 6 July 1999.
9. Paul Schrader, ‘Notes on Film Noir’, Film Comment, Spring 1972, p. 8.
Crowded, festering main streets and desolate, scary back alleys are the backdrop to Welles’ fictional Mexican border town of Los Robles. There are bars, strip clubs, cheap motels and destitute hotels. His cast are strippers, soldiers, youth gangs, sexual psychopaths, gringos, Chicanos, and good and bad cops. Below the surface, it’s a boiling cauldron of race, oil, sex, drugs, implied rape and murder.
Welles often played powerful men in the films he directed, particularly Charles Foster Kane, Macbeth, Gregory Arkadin and, in Touch of Evil, Hank Quinlan, ‘a great detective’, but ‘a lousy cop’. They were powerful men with imploding personalities, overwhelmed by doubts and failings, their maliciousness eventually defeated by their destinies. Fate is a major factor in film noir and Quinlan has it in spades.
Hugely overweight and physically repulsive, Quinlan has been counteracting his eighteen-year abstinence from alcohol by eating candy bars; his bitterness with the world is motivated by an old trauma, the unsolved murder of his wife thirty years ago; he hates Mexicans; he justifies his corrupt ways by claiming he never framed ‘nobody who wasn’t guilty’; and when he asks old friend Tanya (Marlene Dietrich) for a Tarot reading of his future, he is told ‘You haven’t got any. Your future is all used up’. Lawrence Russell has described Welles’ portrait of Quinlan as ‘a bloated beast of American corruption’. (8)
Quinlan is offset by the Mexican cop Ramon Miguel ‘Mike’ Vargas (Charlton Heston) and his American wife Susan (Janet Leigh). Vargas is investigating drug dealing in Los Robles, and Quinlan is trying to frame a suspect he believes is a murderer. They have diametrically opposed views of policing. It’s a debate over the ends justifying the means, and in Welles’ noir world, it becomes less about some good existing in criminals and more about the pervasive presence of criminal evil.
Born at the start of World War II, film noir mixed up numerous influences, including German expressionism and hard-boiled American crime fiction. As disillusioned war veterans returned home, their bitter experiences helped to propel noir’s fatalist, doom-laden view of life, until 1958 when noir concluded with Touch of Evil. Filmmaker Paul Schrader called it ‘film noir’s epitaph’. (9)
Noir’s uniqueness lay in its bracing antidote to the feel-good/happy endings of Hollywood films during the 1940s and 1950s. It is often mistakenly called a genre – like rom-coms, westerns, science fiction or horror. Noir is a film movement, like German expressionism, Italian neorealism and the French New Wave, with agreed-upon historical periods and starting and ending dates. Like other film movements, noir films share thematic narratives, societal issues and artistic flourishes while often challenging the conventional filmmaking practices of the day.
Welles made four noirs in this period – the other three are The Stranger (1945), The Lady from Shanghai (1948) and Mr. Arkadin (1955) – but he also made earlier contributions in his behemoth first film, Citizen Kane (1941): handheld cameras, shooting on location, chiaroscuro lighting, hard-boiled dialogue, flashback structures, German expressionist imagery and moral ambiguities.
Although Kane isn’t commonly regarded as the start of film noir – Schrader gave that accolade to The Maltese Falcon – both films were released in 1941. If Kane had not been so narratively biographical, an argument could be made that Welles was there at the start of film noir, as well as its middle and its end.
Like so many of Welles’ films, Touch of Evil bombed at the box office when first released. It was relegated to “B” film status at the bottom half of a double bill with a Hedy Lamarr film, The Female Animal (1958) and, like many of his Hollywood films after Citizen Kane, it had been hacked by the studio. Seeing the first studio rough cut, Welles wrote a 58-page memo to Edward Muhl, head of production at Universal Pictures, pleading for the changes to image and sound he felt should be made.
A 109-minute ‘preview version’ was made before a 96-minute version was released in 1958. It became the only version available for the next 20 years and included scenes not shot by Welles and with 15 minutes of his material excluded. In the mid-1970s the ‘preview version’ was unearthed and released. Another 20 years would pass until 1998, when the reconstructed and restored version was made, 13 years after Welles’ death. Working as closely as possible with Welles’ 58-page memo from 1957, the reconstruction was produced by Rick Schmidlin and edited by Walter Murch with film scholar Jonathan Rosenbaum as consultant.
Any discussion about directors who changed cinema forever always includes Welles. His effect on film noir was also profound, and Touch of Evil is regarded as his noir masterpiece. Welles’ constantly moving, hyperactive camera, tilted angles and exploding patterns of shadows all contribute to a mash-up of noir’s visual style, before he set about reconstructing it.
His characters are far more complex, more varied and exhibit greater psychological complexity than most in the film noir movement. His noir influences can also be found in many of his other films, such as The Trial, Macbeth and Othello with their nightmare entrapments, expressionist cinematography, crazed angles and esoteric settings.
There is nothing in the cinema quite like Touch of Evil, Orson Welles’ epitaph to film noir.
And there’s nothing in the cinema quite like Tanya’s eulogy for Quinlan at the end of the film: ‘He was some kind of a man…What does it matter what you say about people?’
Notes
1. David Thomson, ‘Mank’, The Guardian, 19 November 2020, citing Herman J. Mankiewicz.
2. Quoted in Ryan Lattanzio, ‘Orson Welles’ World, and we’re just living in it: A Conversation with Norman Lloyd’, EatDrinkFilms.com, 19 September 2015.
3. The Age, 2 November 1938, p. 14.
4. Dalya Alberge, ‘The Magnificent Ambersons’, The Guardian, 18 June 2023.
5. Alberge, as above.
6. Brian Eggert, ‘Touch of Evil’, Deep Focus Review, 20 May 2009.
7. François Truffaut, The Films in My Life, trans. Leonard Mayhew, Simon and Schuster, New York, 1975, p. 289.
8. Lawrence Russell, ‘Touch of Evil’, culturecourt.com, 6 July 1999.
9. Paul Schrader, ‘Notes on Film Noir’, Film Comment, Spring 1972, p. 8.
THE RESTORATION
4K Restoration by Universal Pictures from the 35mm Original Negative and 35mm Dialogue/Music/Effects Track. Restoration services conducted by NBCUniversal StudioPost.
Director: Orson Welles; Production Company: Universal-International Pictures Co., Inc.; Producer: Albert Zugsmith; Script: Orson Welles based on Badge of Evil (1956) by Whit Masterson; Photography: Russell Metty; Editor: Virgil Vogel, Aaron Stell, Edward Curtiss; Production Design: Alexander Golitzen, Robert Clatworthy; Music: Henry Mancini
Cast: Charlton Heston (Ramon Miguel ‘Mike’ Vargas), Janet Leigh (Susan Vargas), Orson Welles (Hank Quinlan), Joseph Calleia (Pete Menzies), Marlene Dietrich (Tanya), Akim Tamiroff (Joe Grandi), Dennis Weaver (Motel clerk), Ray Collins (Adair)
USA | 1958 | 111 Mins | 4K DCP | B&W| English | M
Director: Orson Welles; Production Company: Universal-International Pictures Co., Inc.; Producer: Albert Zugsmith; Script: Orson Welles based on Badge of Evil (1956) by Whit Masterson; Photography: Russell Metty; Editor: Virgil Vogel, Aaron Stell, Edward Curtiss; Production Design: Alexander Golitzen, Robert Clatworthy; Music: Henry Mancini
Cast: Charlton Heston (Ramon Miguel ‘Mike’ Vargas), Janet Leigh (Susan Vargas), Orson Welles (Hank Quinlan), Joseph Calleia (Pete Menzies), Marlene Dietrich (Tanya), Akim Tamiroff (Joe Grandi), Dennis Weaver (Motel clerk), Ray Collins (Adair)
USA | 1958 | 111 Mins | 4K DCP | B&W| English | M