Analysing the opening sequence of Touch of Evil (1958)

Touch of Evil (1958) directed by Orson Welles has a very interesting opening sequence as it is made up largely of a four minute single-shot sequence.

The scene starts off with a close-up shot of a man setting the timer of a car bomb, and then runs to the car he has targeted, without the viewer seeing his face, and with the use of some terrific shadows on the wall he has ran past. The camera follows him up to the car and then, as the man turns and runs out of the shot, it drifts upwards slowly to take the viewer into a brilliant high angle shot of the car and its owners (a couple) getting into it. The camera doesn’t stay still though, however, but it keeps moving and follows the car as it drives around a building. As it comes back around the corner, the car now facing the camera, the camera carries on moving backwards in the street, with various people crossing the road and various different music playing from the different cars and buildings that the camera moves past. The viewer, then, doesn’t have too much time to think about who planted the car bomb or who’s in the car as action is on-going in all parts of the shot. Also, the effect of the different pieces of music playing from different sources emphasizes the business and confusion of the setting. The camera keeps on moving and then, as a couple (Charlton Heston and Janet Leigh as Ramon Miguel Vargas and Susan Vargas) cross the road, begins to focus on that specific couple, whilst the car it had been following up to this point overtakes the camera and moves briefly out of the shot. It reappears quite quickly however, as it has been held-up by a group of goats in the middle of the road, at which point the couple then overtake the camera. The car catches up with the couple quite soon though, whilst people continue to cross the road, until both the couple and the car reach an officer who will decide whether they can keep going and enquire whether they’re American citizens. At this point the viewer learns that the Ramon Miguel Vargas is an important policeman who has recently solved a big case involving the notorious ‘Grandi’ family. Both the couple in the car and the Vargas’ are allowed to continue, then, as the car carries on straight ahead, out of the shot, they cross the road and the camera moves to follow them. Shortly after this, the viewer hears the car bomb explode and the camera switches the image of the explosion (this is the point where the single-shot sequence is ended) and then, after a quick, short zoom-in further towards the explosion, it switches back to a low angle, slightly shaky shot of Ramon Miguel Vargas running towards the explosion.

(the opening sequence of Touch of Evil)

This use of the single-shot sequence is very effective in this opening sequence as it ensures that the viewer can’t take his or her eyes off the screen, as there’s always something happening. This is especially the case with the constant over-taking and re-over-taking of each other between the two couples, as the viewer must keep an eye on both of them, but is also emphasized by the continuous crossing of the road by several people at almost all times. Also, the viewer doesn’t have a clue who was in the car, and who planted the bomb, so the long single-shot sequence creates further suspense regarding this mystery. Furthermore, the fact that the camera is always moving backwards causes further disorientation and mystery to the viewer as he or she can't tell how much longer the camera will carry on going for. Regarding the narrative, then, this opening sequence is very successful as mystery is increased throughout.

It is, however, also successful regarding the mise-en-scene, as some excellent uses of shadow ensure that it’s pleasing on the eye. The camera movement and angles are also very effective; in particular the rising high angle shot near the beginning just after the car bomb has been planted. All of these mise-en-scene features, incidentally, are generic signifiers of the noir period.

So, in conclusion, this is a very effective opening scene as is builds tension, introduces mystery, and includes several genre conventions.