But he did famously specify a series of modifications to the 1958 studio cut of Touch of Evil, changes that weren’t enacted until after his death. Orson Welles never went back and added color to Citizen Kane. Everything that made From Hell great in black and white is still there, and the new elements add a lot more than they subtract. In the end, then, Campbell’s care and craft are succeeding, so far, in threading the needle. Note the eyebrows and hair in the “From Hell, Netley” panels above, or the details of the woman’s face and her slightly smaller hat in the “Not your brother” panels. In some panels the effect is strikingly new and effective, especially in close-ups of characters’ faces where features had been formerly delineated by masses of black lines.
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