Touch of Evil Opening Shot
In the opening shot of Touch of Evil, Orson Welles is able to create tension and suspense by effectively using the off frame aspect of the mise-en-scene. By allowing the scene to move outside the focus of action, at particularly untimely moments, Welles places the audience in short but effective moments of unresolved tension and suspense, effectively luring the spectator psychologically further into the opening shot and the rest of the film. At the very beginning of Touch of Evil, the scene begins with the bomb. The bomb is a main focus of the entire first shot. It will never leave the spectators memory. The audience sees someone activate the bomb, then suddenly, after a woman laughs, the camera swings away showing a couple walking. The scene continues as the man with the bomb moves outside the frame. At this moment, the camera is moved to slightly follow just behind the man with the bomb. We see shadows, but he is not allowed back into the frame. This short moment creates the foundation of the rest of the opening continuous shot. The audience gets its first sense of tension at the very second the bomb moves outside the frame. "Where's the bomb going? Follow him!" Before long, the man is back in the scene placing the bomb in
The next point of "separation anxiety" occurs when the car is stopped at an intersection. However, many spectators may feel that the Vargas's are in danger of being hurt by the emanate explosion of the bomb, hence still thinking of the car and the bomb which are off frame. In order to avoid summarizing the entire plot of the first scene, please allow plot gaps. The second separation of spectator to bomb occurs rather quickly. The camera at this point lets the car back in the scene to emphasize the danger of the bomb in relationship to the main characters. Vargas and the guards at the border reveals a good plot foundation. Vargas and their conversation with the guards. Does the audience feel tense when the Vargas's are separated? Yes. Vargas, on-screen and the dangerous car off-frame. He used the off-frame technique to further emphasize the danger and evil of the bomb in the car, and to very precisely leave us unresolved and anxious. Welles doesn't allow the spectators attention to ever fully stray away from the danger of the bomb. Orson Welles was a master at effectively using the off frame aspect of mise-en-scene in order to psychologically affect his audience. The Vargas's also arrive at the same time on the scene. The amazing three-minute shot that starts the film is actually a good insight into the theme of the rest of Touch of Evil.
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Acceptance Essays
