Saturday Matinee Classics/Enzian Film Club
1998 Reconstruction – 4K Restoration!
Dive into the magic of cinema with the Enzian Film Club! Join us for an enriching experience where film enthusiasts and novices alike can explore classic films in a new light. Each session features a short presentation by esteemed professors from local colleges, followed by collaborative discussions that bring fresh insights and foster a deeper appreciation for the art of filmmaking. Part of our Saturday Matinee Classics series, the Enzian Film Club is your gateway to understanding and enjoying timeless cinematic masterpieces in a vibrant, community-focused setting.
Featuring an Enzian Film Club discussion on "Film Noir" with Michael Furlong from University of Central Florida!
Directed by Hollywood legend Orson Welles (Citizen Kane), Touch of Evil is a film noir masterpiece whose backstory is as unforgettable as the movie itself.
Starring Charlton Heston (Ben-Hur), Janet Leigh (Psycho) and Welles himself, this dark portrait of corruption and morally compromised obsessions tells the story of a crooked police chief who frames a Mexican youth as part of an intricate criminal plot.
With a legendary opening crane shot, shadowy cinematography by Russell Metty (Spartacus), evocative score by Henry Mancini (Breakfast at Tiffany’s) and memorable supporting turns by Akim Tamiroff (For Whom the Bell Tolls) and Marlene Dietrich (The Blue Angel), Touch of Evil is a stylistic triumph that stands the test of time.
The 1998 reconstruction (by Rick Schmidlin, Walter Murch, Bob O’Neil, et al.) restores many of Welles’ sound and picture intentions, as detailed in a legendary 58-page memo to the studio.
1958, 111 minutes, USA, In English and Spanish, Directed by Orson Wells, Unrated
“THE TALLEST TREE IN THE WILDERNESS OF WELLES’ POST-KANE CAREER! The dialogue is as intricately overlapped as the lighting is cross-hatched; the cameos are as vivid as possible in a black-and-white movie; the camera work and blocking have the coordination of an Olympic pole vaulter.”
– J. Hoberman, THE VILLAGE VOICE
“Wizardly moving camera shots, nightmarish angles and incredibly florid, amusing performances pack the movie... a wondrous gift no movie lover should miss.”
– Michael Wilmington, CHICAGO TRIBUNE
“No amount of repeated viewings can dull the edge of its sinister ambience or soften the visual excitement Welles brought to this quintessentially cinematic film.”
– Kenneth Turan, LOS ANGELES TIMES
“One of a few monumental 1950s swan songs marking the end of the great epoch of traditional studio filmmaking.”
– Jonathan Rosenbaum, CHICAGO READER
“Astonishing cinematography and brilliantly played, this certainly one of the most influential crime movies in history.”
– Angie Errigo, EMPIRE
“This re-edited version turns one of Orson Welles' most memorable yet flawed films into a masterpiece.”
– Andy Seiler, USA TODAY
