event Cine-A-Dine: Touch Of Evil

The obvious thought that comes to mind at the prospect of a restored version of Orson Welles' Touch Of Evil is, "Why bother?" After all, what was wrong with the original version, the one mostly undisputed classic among Welles' later efforts? As it turns out, a lot of little things in the version of Touch Of Evil known to most people are at odds with Welles' intentions, including some added footage and considerably different uses of sound. This restored version cleans things up in accordance with the dictates of a 58-page memo written by Welles himself prior to the film's 1958 release. It doesn’t make Charlton Heston any easier to buy as a Mexican, but it further establishes the film as one of noir’s finest hours. Here, Touch screens as part of the Orpheum's new "Cine-A-Dine" program, which pairs the film with a dinner reservation in the theater's lobby restaurant.

The obvious thought that comes to mind at the prospect of a restored version of Orson Welles' Touch Of Evil is, "Why bother?" After all, what was wrong with the original version, the one mostly undisputed classic among Welles' later efforts? As it turns out, a lot of little things in the version of Touch Of Evil known to most people are at odds with Welles' intentions, including some added footage and considerably different uses of sound. This restored version cleans things up in accordance with the dictates of a 58-page memo written by Welles himself prior to the film's 1958 release. It doesn’t make Charlton Heston any easier to buy as a Mexican, but it further establishes the film as one of noir’s finest hours. Here, Touch screens as part of the Orpheum's new "Cine-A-Dine" program, which pairs the film with a dinner reservation in the theater's lobby restaurant.

The obvious thought that comes to mind at the prospect of a restored version of Orson Welles' Touch Of Evil is, "Why bother?" After all, what was wrong with the original version, the one mostly undisputed classic among Welles' later efforts? As it turns out, a lot of little things in the version of Touch Of Evil known to most people are at odds with Welles' intentions, including some added footage and considerably different uses of sound. This restored version cleans things up in accordance with the dictates of a 58-page memo written by Welles himself prior to the film's 1958 release. It doesn’t make Charlton Heston any easier to buy as a Mexican, but it further establishes the film as one of noir’s finest hours. Here, Touch screens as part of the Orpheum's new "Cine-A-Dine" program, which pairs the film with a dinner reservation in the theater's lobby restaurant.

The obvious thought that comes to mind at the prospect of a restored version of Orson Welles' Touch Of Evil is, "Why bother?" After all, what was wrong with the original version, the one mostly undisputed classic among Welles' later efforts? As it turns out, a lot of little things in the version of Touch Of Evil known to most people are at odds with Welles' intentions, including some added footage and considerably different uses of sound. This restored version cleans things up in accordance with the dictates of a 58-page memo written by Welles himself prior to the film's 1958 release. It doesn’t make Charlton Heston any easier to buy as a Mexican, but it further establishes the film as one of noir’s finest hours. Here, Touch screens as part of the Orpheum's new "Cine-A-Dine" program, which pairs the film with a dinner reservation in the theater's lobby restaurant.

The obvious thought that comes to mind at the prospect of a restored version of Orson Welles' Touch Of Evil is, "Why bother?" After all, what was wrong with the original version, the one mostly undisputed classic among Welles' later efforts? As it turns out, a lot of little things in the version of Touch Of Evil known to most people are at odds with Welles' intentions, including some added footage and considerably different uses of sound. This restored version cleans things up in accordance with the dictates of a 58-page memo written by Welles himself prior to the film's 1958 release. It doesn’t make Charlton Heston any easier to buy as a Mexican, but it further establishes the film as one of noir’s finest hours. Here, Touch screens as part of the Orpheum's new "Cine-A-Dine" program, which pairs the film with a dinner reservation in the theater's lobby restaurant.