Considered one of the most impressive openings in film noir,
Welles' 1958 crime thriller Touch of Evil
displays how his integration of camera work and narrative
matured over eighteen years of his film career:
displays how his integration of camera work and narrative
matured over eighteen years of his film career:
I feel as if from viewing "Citizen Kane" and now the opening scene of "Touch of Evil" that there can be a pattern seen with how Welles starts his films. From both opening scenes I have felt a mysterious haunting in how he leads you in with no words or direct eye contact with the main subject. It is hard to tell what is important to pay attention to and what is just "extra" in the background. The music he chooses is haunting and it has a tone that pulls you in and makes you pay attention. The camera movements were also very smooth. I felt as if it just drifted from one area to the next without being too "jumpy".
ReplyDeleteYes. And in this film, in particular, that music contributes to a mood we associate with film noir
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