The opening sequence of Touch of Evil is a single unbroken three minute and 20 second tracking shot that follows a character planting a bomb in a couple's car without revealing his identity. This obscures the narrative and builds tension for the audience as they see people going about their business unaware of the impending explosion. The sequence makes clever use of camera techniques like the rule of thirds and a ticking clock-like music cue that speeds up to further heighten the suspense until the car explodes, killing the couple.

1. Touch of Evil Analysis
A Touch of Evil is a 1958 film Noir and
one of the last examples of the genre
in its classical era. Film Noirs typically
revolve around ambiguity, often
manipulating the chronology to
obscure the narrative, which keeps the
audience engaged. The opening
sequence of this film is consistent with
this as it shows a close-up of a
character turning the dial on what
appears to be an improvised weapon.
The camera then pans to reveal a couple in the distance who seem to be in love, as though
it is secretly tracking their position in relation to the character. It then tracks the character
as he runs to the couple’s convertible to plant the device. This gives the audience a clue that
the couple are about to be killed, which is typical of a film noir as they often deal with dark
themes such as greed, betrayal, jealousy, and corruption. Although the camera is following
the culprit it isn’t keeping up with his pace, perhaps to indicate that this is a very delicate
situation and that time is not on his side.
The opening sequence to the
film is, in fact, one long tracking
shot, lasting for three minutes
and 20 seconds. The opening
sequence to the film is, in fact,
one long tracking shot, lasting
for three minutes and 20
seconds. This creates an element
of surprise as the emphasis is
put on the people in the
surrounding environment, who were all going about their everyday business until the
vehicle exploded, killing both its occupants. The director, Orson Wells, uses the rule of thirds
technique to exemplify this; the convertible drops back from the centre frame at various
points, and as the surrounding people become the camera’s focus this creates tension as
the audience is aware the vehicle could explode at any time.
The music plays a pivotal role in creating the dramatic tension. It begins with some light
percussion which sounds like the inner workings of clock. This indicates that the scenario is
time sensitive and is reiterated by the fact that it is gradually speeding up. As with most Film

2. Noirs the music accompaniment sounds neither entirely major nor minor, and the chords
refuse to resolve, taking us to an uncertain fate. As the horns get louder it almost sounds as
though they are screaming for help; this is an effective way of bui lding the tension and was
demonstrated, for example, by Bernard Hermann when scoring the suicide scene in Vertigo.
As the camera focuses on a couple walking down the street, the music is accompanied by
some low end saxophone, creating a more provocative atmosphere.
The only clue in the film's
narrative as to what is about to
happen is when the woman
complains of a clicking noise in
her head, being dismissed both
by borderline security and her
husband, who simply drives off
regardless. In Film Noirs females
are often portrayed as fatales
and are typically depicted as
unreliable and irresponsible.
Men, on the other hand, are
often portrayed as cynical and disillusioned who struggle, and ultimately fail to survive. This
is why they don't pay attention to the female when she foretells what is about to happen.