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Double Indemnity
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Directed by Billy Wilder.
Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. ~ Linda Rasmussen, All Movie Guide
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unclefesteringunclefestering Was Inspiried to watch the by F ...
by unclefestering in unclefestering Blog
hasn't rated it.
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"If you listen to the Filmspotting podcast you are familiar with their marathons. One of their recent marathons was on the Film Noir classics. After watching some great movies like Double Indemnity (1944) and the The Asphalt Jungle (1950) and some much lesser Noir films like Gun Crazy (1949) , I was burned out on the style for a while, but I was inspired to see The Big Sleep. I waited a couple weeks for my batteries to recharge and am I ever glad I did. In many films that star real life couples, the characters they play often seem like burned out versions of themselves. Not here. Bogart and Bacall are simmering in every scene together. The bodies pile up as William Faulkner's screenplay tries to make sense of Raymond Chandler's macguffins and red herrings, but in the end it is all good. We get the ending we want. " [More]
dickbuistdickbuist Great lines!
by dickbuist in dickbuist Blog
liked it.
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"Great lines! " [More]
JymkataJymkata Re: Top 5 Actresses in Classic ...
by Jymkata in Top 5
liked it.
"Wow, great topic, since the women really make film noir sexy and mysterious 1. I loooove Gloria Grahame in everything so I guess I have to cheat and say that I would put three of her noir performances in a tie- tough and sexy Debby Marsh in The Big Heat, scheming Irene Neves in Sudden Fear, and complicated Laurel Grey in In a Lonely Place2. I think Joan Crawford gets a bad rap because of her personal life, but I think she makes every movie she's in better. I'm going to cheat again and list two favorites, as Myra Hudson in Sudden Fear and as the indomitable Mildred Pierce3. I agree with you Jim that Jane Greer's entrance in Out of the Past is one of the most memorable, maybe only rivaled by Lana Turner's in The Postman Always Rings Twice. Jane's performance makes that movie all the more mysterious and menacing. 4. Gene Tierney is a great noir actress as well. She is the haunting prescence in one of my all-time favs., Laura and she's great in the noirs Whirlp ... " [More]
MCMikeNamaraMCMikeNamara Re: Filmspotting #161: Waitress ...
by MCMikeNamara in Filmspotting
loved it.
"So I held off on seeing 28 Weeks Later last week because of your split decision on it. I now realize I was wrong as I tune in today and hear Sam -- whom I tend to be more in agreement with -- COMPLETELY miss the train on Double Indemnity. Like Adam, I fell I can't even begin to respond. If someone asks the stupid question "What's your favorite movie?", I always give this one as my answer, so I'm obviously biased. But still, I want to respect Sam's opinion -- I like to think that his expectations were just set way too high, and am going to let this be a lesson for me to try to find films long before I start hearing about them in order to avoid this problem. But I must defend Fred McMurrary. Like Peter Parker as Venom, Walter Neff works as a character because he's such a schmuck but he thinks he's a bad-ass. He's an insurance agent, not a hardboiled P.I. The fact that the chemistry between he and Barbara Stanwyck works despite the fact that he's gettin ... " [More]
MovieBabeMovieBabe Double Indemnity
by MovieBabe in MovieBabe Blog
hasn't rated it.
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"Back in the '40s, men were men and dames were dames, and everyone talked 100 miles an hour. At least that's how it is in Double Indemnity, Billy Wilder's 1944 film noir about an insurance salesman (Fred MacMurray) who gets sweet-talked by the requisite bombshell (Barbara Stanwyck) into secretly underwriting an insurance policy on her husband and then helping her knock him off. This thriller is an engrossing and tightly shot classic, and it's fun to hear characters seriously delivering lines such as "I knew I had hold of a red-hot poker, and the time to drop it was before it burned my hand off!" (Bonus drinking game: Shots all around whenever MacMurray calls Stanwyck "baby.") Find out how to not murder your husband when Double Indemnity screens at 7:30 p.m. at American City Diner, 5532 Connecticut Ave. NW. " [More]
JimBellJimBell Double Indemnity
by JimBell in JimBell Blog
liked it.
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"Double Indemnity (1944) is such a film classic that many critics include it in their top 100 list. A sharp, successful insurance salesman (Fred MacMurray) gets tangled up with a cold, seductive femme fatale (Barbara Stanwyk). They take out a life insurance policy and then murder the woman’s husband in an “almost perfect crime” which the insurance company’s investigator (Edward G. Robinson) solves. The film made a big splash in 1944 and was nominated for 7 Academy Awards but won none. Although I love the plot twists created by writers Billy Wilder and Raymond Chandler and the film noir photography by John Seitz, the movie rings hollow because the two main characters remain the pulp fiction characters they were in James M. Cain’s original Three is a Kind (1935). They don’t really commit the murder for love: Their relationship is shallow and fleeting. Nor do they seem much concerned with the money. They commit the murder because that is one of the ... " [More]
moviedoddmoviedodd Double Indemnity
by moviedodd in Dodd's Film Reviews
loved it.
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"One of the greatest benefits of DVD technology is not just providing a better format for popular new releases, but for restoration and preservation purposes. It is true that the film medium is dying, and it is quite sad. Yet at the same time, if film is deteriorating, then how do we continue to preserve the classics that started it all? The answer is digital technology. Thanks to recent advances, older films are able to be seen like they have never been seen before. They even come packaged with featurettes that better educate audiences on the classics. One of the most recent and shining examples of classical film being marketed on DVD is Double Indemnity. It is a great honor for me to review this DVD because the film happens to be one of my favorites. Released in 1944 by the great Polish émigré Billy Wilder, Double Indemnity is one of many film noir titles that graced the big screen in a WWII/Post-WWII era. However, this particular title has forever stuck out as a classic that has ... " [More]
Review by All Movie Guide
All Movie Guide
loved it.
Billy Wilder only made one proper film noir, but it was a doozy: Double Indemnity is one of the most unrelentingly cynical films the genre produced, with a pair of career-changing performances from Barbara Stanwyck and Fred MacMurray and a script by Wilder and Raymond Chandler every bit as black-hearted as James M. Cain's novel Three of a Kind, on which the film was based. The idiosyncratically attractive Stanwyck, generally thought of as pretty but hardly a bombshell, was rarely as sexy as she was as Phyllis Dietrichson, and never as sleazy; Phyllis knows how to use her allure to twist men around her little finger, and from the moment Walter Neff lays eyes on her, he's taken a sharp turn down the Wrong Path, as Phyllis oozes erotic attraction at its least wholesome. While MacMurray was best known as a "nice guy" leading man (an image that stuck with him to the end of his career), he was capable of much more, and he gave perhaps the finest performance of his life as Walter Neff, a sharp-talking wise guy who loses himself to weak, murderous corruption when he finds his Achilles Heel in the brassy blonde Phyllis. (MacMurray's only role that rivalled it was as the heartless Mr. Sheldrake in The Apartment, also directed by Wilder.) And, while they followed the Hays Code to the letter, Wilder and Chandler packed this story with seething sexual tension; Neff's morbid fascination with Phyllis's ankle bracelet is as brazenly fetishistic as 1940s filmmaking got. Double Indemnity was not a film designed to make evil seem attractive -- but it's sure a lot of fun to watch. ~ Mark Deming, All Movie Guide
 



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