Episode 122
Touch of Evil
Supercontext: an autopsy of media · Charlie Bennett
September 14, 20181h 42mExplicit
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Show Notes
This 1958 Orson Welles' picture has been called the last of the classic film noir era. We discuss Welles' approach to filmmaking, his conflicts with the movie studio and the thematic tensions displayed by the genre at the time. Oh, and Charlton Heston's makeup. That gets a good 10 minutes.
Interested in the media we discussed this episode? Please support the show by purchasing it through our affiliate store:
- Touch of Evil
- Will Eisner
- Crime SuspenStories
- Criminal
- To Be a Man: Letters to My Grandson
- The Bridge
- The Element of Crime
- Get Shorty
- Cookie's Fortune
- Lone Star
Additional Resources:
- AT THE MOVIES; Dark Secrets Of Suburbia
- ORSON WELLES' MEMO ON TOUCH OF EVIL
- One of our classics is missing
- Beatrice Welles interview – Part 1: Treasures to be auctioned, life with Orson Welles and public misconceptions
- Restoring the Touch Of Genius to a Classic
- Touch of Evil (re-issue)
- 25 Minority Characters That Hollywood Whitewashed
- From Breakfast at Tiffany's to Hellboy: The ongoing problem of Hollywood 'whitewashing'
- "Ballad of a fat man"
- Clute S, Edwards R. The Maltese Touch Of Evil : Film Noir And Potential Criticism [e-book]. Hanover, N.H.: Dartmouth; 2011. Available from: eBook Collection (EBSCOhost), Ipswich, MA. Accessed September 3, 2018.