FILM NOIR OPENINGIS ANALYSIS

TOUCH OF EVIL

This opening, from 'Touch of Evil', is one of the most iconic openings in Film Noir history, due to the fact that it is made up of just one lengthy crane shot. This interesting camera usage is typical of Film Noir, as is the fact that consequently, the footage is not edited together - as it is simply one shot. The use of diegetic sound is also note worthy in this scene, as the music from the car radio acts as backing music also, bringing the audience closer to the characters, as they are hearing the same thing. The fact this scene is set at night is typical of Film Noir movies, which take advantage of the darkness and shadows to create interesting lighting when blended with the black and white filter.




SUNSET BOULEVARD

This scene opens to a shot of sign which references the location, and the name of the film. The film then continues to a typical lengthy shot running over the top of a road whilst the credits roll. This is not a convention of just Film Noir, but of all films from this era. The backing music is orchestral, tension building and epic, something that is shared among most Film Noirs. This is used to engage the audience more and build them up to the coming scene or moment of importance. As the shot tilts upwards to show the action, a narrator begins speaking, which is another convention of Fim Noir used to further flesh out the story and character motivations to the audience.



DOUBLE INDEMNITY

This opening, as is typical of Film Noir, is shot at night. This means that we cannot see much in the very beginning, other than the lights of the cars, and the lit 'Stop/Go' sign. This adds a sense of mystery which is conventional amongst Film Noir, but also puts emphasise on the fact that the driver of the car continues driving despite the sign saying 'Stop'. This tells the audience that this is a character who is rushed and one who lives dangerously. Once he gets to his destination we can see that the character is dressed conventionally with a trench coat and hat, adding to the sense of mystery already created. This mystery is further aided by the fact the antagonist says very little and does not reveal what he is doing.