Touch of Evil is justly famous for a number of things. First of all, its opening crane shot, lasting several minutes, which follows both the convertible carrying the time bomb and the married pair as they all proceed toward the US border on the Mexican side. Following their progress, the camera reveals a tawdry, impoverished town. At the border checkpoint the newlyweds are waved through after a few routine questions. As the camera returns to Heston and Leigh, who embrace, the bomb explodes.
Welles accomplishes more in one shot than most directors do in two hours.
The shot is more than a technical tour de force. The use of one extended take, which visually unifies so many elements, suggests a single, indivisible universe and it is a universe in which a layer of corruption coats virtually everyone and everything. Touch of Evil is also famed for its look. There are the acting performances. Dietrich, whom Welles called up one night out of the blue and asked to come work on his film the next day, is Quinlan's old flame, a brothel keeper and fortune-teller of some vague description.