A Touch of Evil by Orson Welles

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The film that will be discussed in relation to this question is A Touch of Evil, by Orson Welles. This film was directed in the classic period of the forties and fifties, which was heavily associated with film noir. Orson Wells directed a film with a multitude of narrative derails that lent upon perspective and cross narrative structure to make the narrative apply to more than just the scope of the films immediate plot.


In film noir we see a tendency to deter from linear narratives and see that although the focus of plot and structure is still steered towards that of a congruent outcome, periphery characters and juxtaposition of scenes frequently blight and confuse the narrative often leaving elements ambiguous and open to viewer interpretation (Silver, 1992). The audience of film noir appreciated such ambiguity, indeed, they almost expected it. A Touch of Evil supplied it in abudance.
Devoid of traditional third person narration, we see that the opening scene immediately gives direction to the plot and a story essence in keeping with the genre. A car bombing in a provincial Mexican border town intended for a Mexican law man brings together both the basis for the main narrative and the character who is to bring closure to the narrative - namely the detective played by Welles himself. However, it is not long before this closed plot narrative becomes filled with other scenes and narratives that elude to concepts that exist outside of the plot itself. ...
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