The Cinematography of “Touch of Evil”

Perhaps the most important basic element of cinematic composition is the ability of the frame itself to move. The mobility of the camera enables the filmmaker to change his vantage point in an instant. It allows action. Even more importantly, it enables the filmmaker to change the character of the image as the action evolves by simply moving the camera in, out and around the players.

Few filmmakers have ever used composition to its full potential. The concept of the ever-changing image seems difficult to execute because it involves the three basic elements of composition: (1) Placement of people and objects within the frame  (2) Movement of people and objects within a fixed frame  (3) Movement of the frame itself ---All of which must be controlled simultaneously. The filmmaker, unlike the photographer and the theater director, creates his visual compositions in a flexible, ever changing arena.

This 1958 film has a long single take shot for the opening sequence that masters these principles. Imagine the difficulty of coordinating the constantly moving subjects and changing perspective, all while choreographing the movement of the frame itself at the same time.

Check out the opening scene to Orson Welles' "Touch of Evil" >>> Theatrical version of this impressive shot.
Via The Art of the Title Sequence.




An additional example is the opening shot in Robert Altman's "The Player".

Another Orson Welles film of note is "Mr. Arkadin" (1955). The cinematography in this black/white thriller is by Jean Bourgoin. To show you the unusual compositions throughout the whole film here's a few screen captures (courtesy of Hans Bacher).

"Touch of Evil" - Cinematographer: Russell Metty
Click on any of the images to enlarge