When I think of just what film-noir is, I think of love triangles, a femme-fa tale, dimly lit sets. lights and shadows, slick operators looking to score and finally, some desperate crime born of their lust and depravity. Double Indemnity contains all these elements and defines this genre better than any movie I've ever seen. I have to give this movie a 10 and not because I like giving perfect scores but because of the towering performances of three of the all time great actors of American film as well the masterful directing and writing of Billy Wilder. I've been a big Billy Wilder fan for some years now and I believe this is his masterpiece.
Wilder directed and co-wrote (with Raymond Chandler) Double Indemnity, and worked hard to convince the two stars, Barbara Stanwyck and Fred McMurray to overcome their hesitancy and join him in this endeavor. Both didn't like the idea of playing these shady characters, but because they did we end up with possibly the best acting trio (along with Edward G. Robinson) ever in one film. Bold statement yes, but I'm talking about PERFECT casting here...straight down the line.
Stanwyck plays Phyllis Dietrichson, she's married to an older man who she detests and one day a wise-cracking insurance salesman named Walter Neff (McMurray) comes to the door and they begin talking...or should I say flirting. This marvelous introductory scene is the essence of film-noir, filled with fast lines with double meanings and it really captivates us right from the start. Phyllis asks about accident insurance for her husband and the banter continues and then Neff leaves. He leaves, but hes hooked (as are we), and later Phyllis stops by his apartment and they get closer and start plotting. Wouldn't it be nice if they could knock off her hubby and split the insurance payout?
What a premise; this is the ultimate film-noir plot setup. They start meeting secretly and planning, meanwhile Neff tries to keep his prying (and extremely perceptive) boss Keyes (Robinson) at arms length. Edward G. Robinson, playing against type as an all-consumed, almost anal claims investigator, gives a performance that is truly the foundation of this film. Stanwyck, to me is maybe the most talented all-around actress in Hollywood history and the extremely under-rated McMurray (also cast against type) displays an easy charm that covers up his building anxiety, and they are both fantastic, but Robinson absolutely shines as the insurance scam expert who claims the "little man in my stomach" won't let him rest easy. There's a brilliant scene where Keyes shoots down his bosses' idea of the crime being a suicide by quoting statistics from actuary tables and you'd think at the time he was in on the plot with Neff (of course we know he isn't) because he is so convincing and compelling. I really think its one of the greatest supporting performances ever in film.
We get some of the little plot twists that we'd expect in a film-noir, as Walter and Phyllis decide whether they should even contact each other until the heat dies down. Walter at times seems to be coming completely unglued while Phyllis' cold, conniving exterior is hiding secrets she hasn't told anyone. The great fun in watching Double Indemnity is just watching these incredible stars do their thing. There aren't any shoot-outs or big explosions or effects like you see in todays films, instead there is the charisma of three extremely talented actors who absolutely radiate their skills in the hands of one the best directors in history.
So sit back and enjoy a masterpiece of film. This is what movies used to be about when acting, writing and directing were often honed to perfection.
BTW..If you like this film and want some other Wilder films try; The Lost Weekend (Ray Milland) or Stalag 17 or Sunset Blvd (William Holden) or The Apartment (Jack Lemmon)...These are all critically acclaimed and all of these except Stalag 17 are on the AFI Top 100 list.
...but (to me) Double Indemnity is the best of them all, enjoy.
Wilder directed and co-wrote (with Raymond Chandler) Double Indemnity, and worked hard to convince the two stars, Barbara Stanwyck and Fred McMurray to overcome their hesitancy and join him in this endeavor. Both didn't like the idea of playing these shady characters, but because they did we end up with possibly the best acting trio (along with Edward G. Robinson) ever in one film. Bold statement yes, but I'm talking about PERFECT casting here...straight down the line.
Stanwyck plays Phyllis Dietrichson, she's married to an older man who she detests and one day a wise-cracking insurance salesman named Walter Neff (McMurray) comes to the door and they begin talking...or should I say flirting. This marvelous introductory scene is the essence of film-noir, filled with fast lines with double meanings and it really captivates us right from the start. Phyllis asks about accident insurance for her husband and the banter continues and then Neff leaves. He leaves, but hes hooked (as are we), and later Phyllis stops by his apartment and they get closer and start plotting. Wouldn't it be nice if they could knock off her hubby and split the insurance payout?
What a premise; this is the ultimate film-noir plot setup. They start meeting secretly and planning, meanwhile Neff tries to keep his prying (and extremely perceptive) boss Keyes (Robinson) at arms length. Edward G. Robinson, playing against type as an all-consumed, almost anal claims investigator, gives a performance that is truly the foundation of this film. Stanwyck, to me is maybe the most talented all-around actress in Hollywood history and the extremely under-rated McMurray (also cast against type) displays an easy charm that covers up his building anxiety, and they are both fantastic, but Robinson absolutely shines as the insurance scam expert who claims the "little man in my stomach" won't let him rest easy. There's a brilliant scene where Keyes shoots down his bosses' idea of the crime being a suicide by quoting statistics from actuary tables and you'd think at the time he was in on the plot with Neff (of course we know he isn't) because he is so convincing and compelling. I really think its one of the greatest supporting performances ever in film.
We get some of the little plot twists that we'd expect in a film-noir, as Walter and Phyllis decide whether they should even contact each other until the heat dies down. Walter at times seems to be coming completely unglued while Phyllis' cold, conniving exterior is hiding secrets she hasn't told anyone. The great fun in watching Double Indemnity is just watching these incredible stars do their thing. There aren't any shoot-outs or big explosions or effects like you see in todays films, instead there is the charisma of three extremely talented actors who absolutely radiate their skills in the hands of one the best directors in history.
So sit back and enjoy a masterpiece of film. This is what movies used to be about when acting, writing and directing were often honed to perfection.
BTW..If you like this film and want some other Wilder films try; The Lost Weekend (Ray Milland) or Stalag 17 or Sunset Blvd (William Holden) or The Apartment (Jack Lemmon)...These are all critically acclaimed and all of these except Stalag 17 are on the AFI Top 100 list.
...but (to me) Double Indemnity is the best of them all, enjoy.