“[I]t’s my own picture, unspoiled in the cutting or anything else…. The producers were heroic and got it made, and there isn’t anything I had to compromise—except no sets, and I was happy with the other solution, as it turned out, even though I was kind of in love with all the work I’d done. Still, I was happy enough to scuttle it, as I always am.”
–Orson Welles on The Trial, from This is Orson Welles
Orson Welles’ Touch of Evil (1959) is now celebrated as a masterpiece, but the version released in 1959 was not the film that Welles had intended and it was largely dismissed as a glorified B-movie. It had been for Welles one last attempt to make films inside the studio system and he brought the film in on time and on budget. Yet Universal thought that his labyrinthine nightmare of a crime movie was too dark and confusing for audiences and took the editing from his hands. Welles’ famous fifty-eight-page memo (which became the basis of a 1998 revision undertaken by producer Rick Schmidlin and editor Walter Murch) was politic, polite and even supportive of some of the changes made by Universal’s editor as it made the case for editing refinements. Welles played by the rules right to the end, attempting to work with the producers rather than fight them, but it became clear that Hollywood simply did not want the kinds of films that Welles made and he left for Europe. Never again did he work with the budgets or the resources of a major studio production. That was his trade-off for creative control.
The Trial (1963) was not Welles’ first project after Touch of Evil—he started shooting Don Quixote in Mexico and Spain and made a series of documentaries for Spanish TV—but it was the first film he completed after leaving Hollywood.