Giunti Odeon presents one of the greatest masterpieces by Orson Welles and in the entire history of cinema: Touch of Evil. The film was released in cinemas in 1958 in a 95-minute version, featuring editing choices and added scenes by the studios, without Welles’ involvement. The Director’s Cut we are presenting, reconstructed in 1998 based on 58 pages of notes written by Welles himself, is the one that most closely reflects the director’s choices and is considered the version closest to the definitive one. We will thus have the chance to see this masterpiece on the big screen ‘as Welles intended’. The Director’s Cut we are presenting, reconstructed in 1998 based on 58 pages of notes written by Welles himself, is the one that most closely reflects the director’s choices and is considered the version closest to the definitive one. We will thus have the chance to see this new version, which includes the opening sequence of three and a half minutes – one of the most famous in cinema history – finally free of the opening credits, as per Welles’ instructions. But, in general, it will be a real treat to see Touch of Evil back on the big screen, a film that, in every single sequence, demonstrates what cinema is capable of when there is an absolute genius behind the camera (and, in this case, also in front of it). Featuring Charlton Heston and Janet Leigh in two of their finest performances, but above all Orson Welles, who brings to life (and lends his face and body to) one of the most ambiguous, repulsive and yet fascinating characters ever seen on the big screen. Finally, it is impossible not to mention one of Marlene Dietrich’s last and most iconic performances, strongly championed by Welles himself in a supporting yet pivotal role. 

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