In 1938, Walter Neff, an experienced salesman of the Pacific All Risk Insurance Co., meets the seductive wife of one of his clients, Phyllis Dietrichson, and they have an affair. Phyllis proposes to kill her husband to receive the proceeds of an accident insurance policy and Walter devises a scheme to receive twice the amount based on a double indemnity clause. When Mr. Dietrichson is found dead on a train track, the police accept the determination of accidental death. However, the insurance analyst and Walter's best friend Barton Keyes does not buy the story and suspects that Phyllis has murdered her husband with the help of another man.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
One of over 700 Paramount productions, filmed between 1929-49, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. Its earliest documented telecast took place in Omaha 7 March 1959 on KETV (Channel 7) and its popularity on local television stations immediately began to spread like wildfire, with sponsors assuring it the best movie slots usually during rating weeks. In Milwaukee it first aired 22 April 1959 on WITI (Channel 6), in Asheville 26 April 1959 on WLOS (Channel 13), in Minneapolis 3 May 1959 on WTCN (Channel 11), in Phoenix 9 July 1959 on KVAR (Channel 12), in Grand Rapids 5 August 1959 on WOOD (Channel 8), in Los Angeles 19 September 1959 on KNXT (Channel 2), in St. Louis 26 September 1959 on KMOX (Channel 4), in Chicago 3 October 1959 on WBBM (Channel 2), in Detroit 23 October 1959 on WJBK (Channel 2), in Pittsburgh 12 November 1959 on KDKA (Channel 2), in Philadelphia 14 November 1959 on WCAU (Channel 10), in Johnstown 9 December 1959 on WJAC (Channel 6), in Seattle 11 December 1959 on KIRO (Channel 7), and in Baltimore 27 February 1960 on WBAL (Channel 11). It was first released on DVD 28 January 1998, again 28 August 2012 as part of the Universal Vault Series, again 10 November 2014 as part of Universal's Film Noir Movie Spotlight Collection, and again in Blu-Ray 26 May 2015. For over a decade, it's also enjoyed frequent airings on cable TV on Turner Classic Movies. See more »
The movie is set in 1938 but at 00:39:44 a 1941 Mercury coupe is shown passing in the street in front of Jerry's Market. See more »
Well, hello there, Mr. Neff.
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Opening credits are shown over a silhouette of a man on crutches, walking toward the camera. See more »
One of the best films noir ever, Double Indemnity communicates with amazing effectiveness the depths of depravity, greed, lust, and betrayal of the seemingly innocent and beautiful.
This is one of the best films of all time, not necessarily because of its story but because of the acting, direction, cinematography, lighting, and just the way that the story itself was told. At the time the film was released, the idea of revealing who the killer was in the opening scene was virtually unheard of, but it ended up being very effective because it allowed the audience to concentrate more on other elements of the film, which was the goal of Billy Wilder, the director. Instead of trying to figure out who the perpetrator was, there is more emphasis on how the crime was pulled off, what mistakes were made during the murder, who betrayed who, how close Barton Keyes (the insurance investigator) was getting to solving the case, and, probably most importantly, what kind of person Walter Neff is and whether or not sympathy should be felt toward him.
Barbara Stanwyck, in one of the most remembered performances of her extensive career, represents (with nearly flawless ease) the cold and ruthless manipulator who has no difficulty in ruining other people's lives in various ways (including death, if necessary) in order to get what she wants. Known in the film community as the `femme fatale,' this is someone who uses her sexual prowess, seductiveness, and emotional detachment to drag an unsuspecting person (generally an interested man) into a scheme from which she is expected to benefit heavily and he is most likely headed for destruction. In these types of films, the man often either finds his life in ruins or ends up dead, as is often (but not always) also the case with the fate of the femme fatale.
Barbara Stanwyck (as Phyllis Dietrichson, the murderous femme fatale in Double Indemnity) and Fred MacMurray (as Walter Neff, her victim'), have amazing chemistry on screen. Their attraction is incredibly well portrayed, and the development of their relationship with each other is so convincing that what happens between them almost seems normal. Besides that, their mutually calculated interaction, although it seems at first like it has been rehearsed endlessly and ultimately brought unconvincingly to the screen, is exactly as it was meant to be, because it represents each character's intentions, even very subtly foreshadowing their future betrayals against each other. Phyllis has gone through every word she ever says to Walter in her head. She has practiced what she wants to say when she brings up the idea of life insurance to Walter in the beginning and she knows what she wants to say whenever they interact with each other because she has been planning for quite some time the prospect of murdering her husband in order to collect his fortune. Walter, conversely, methodically makes amorous advances as though this is something that he does regularly, and then ultimately he also plans out his conversations with Phyllis because he begins to suspect her and is sure to tell her only what he wants her to hear. This seemingly stiff dialogue brilliantly represents Phyllis and Walter's precise (and sinister) intentions, and it's quick pace creates a feeling of urgency and restlessness.
Probably the most fascinating and entertaining actor in the film, Edward G. Robinson, plays Barton Keyes, Walter's friend and employer at the insurance company where he works. Keyes is a very suspicious man who closely investigates the insurance claims which come into the company, having a striking history of accurately isolating fraudulent claims and throwing them out. His handling of Phyllis's (and Walter's, technically) claim and the way that he gets closer and closer to the truth create a great atmosphere of tension and drama.
Double Indemnity is nearly flawless. From the shocking and unexpected beginning to the already known but still surprising end, the audience is held rapt by the excellent performances, the brilliant and imaginative direction, and the flawlessly created atmosphere. This is excellent, excellent filmmaking, and is a classic film that should not be missed.
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