Double Indemnity (1944)

Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown Amazon.com essential video

One of the best film noir movies ever made

This is tense, gritty film noir at it's best, what more is there to say? A superb plot, directing, screenplay and a sterling cast.. September 1, 2008

Back when substance was more important than special effects...

So I've decided that the film noir has just been disrespected by the so called `noirs' of today, especially when you compare them to the greats of yesteryear. Having recently watched (and balked) films like `Devil in a Blue Dress' and `The Usual Suspects', supposed film noirs of today, I have been aching to convince myself yet again that the genre is not a total lost cause. Sure, we have the recent (ten years old now) `L.A. Confidential' to bolster our confidence that the genre isn't always handled atrociously; but even Hanson's masterpiece cannot hold a candle to Polanski's `Chinatown' or Wilder's brilliant `Double Indemnity'.

This 1944 classic centers on insurance salesman Walter Neff as he is conned into committing a heinous crime by the beautiful and intoxicating Phyllis Dietrichson. Phyllis proposes that Walter sign her husband up for accident insurance without his knowledge so that he can have an `accident' and she can collect the insurance payout. Walter catches on to her game and is initially put off, but his infatuation with Phyllis, and her cries of unfair treatment from her husband, cause him to change his mind and soon he is conning the very company for which he works.

But nothing every goes as smoothly as one would like it to.

Walter's boss, Barton Keyes, can smell a scam from a mile away, and his instincts immediately kick in when he gets wind of the Dietrichson claim. Beings that he has known Walter for years he doesn't suspect him in the least, but Walter's relationship with Phyllis could raise concern and so they struggle to keep their relationship a secret; but there is more Phyllis is keeping from Walter, secrets that could ultimately change the outcome of both their lives.

With sharp dialog and a plot filled with believable and dastardly twists, `Double Indemnity' is a brilliantly crafted film noir that stands firm as one of the best of the breed, and quite possibly one of the best in any breed come to think of it. The acting is superb and the direction is flawless. Fred MacMurray wonderfully sinks into his character, exposing his raw naivety when it comes to the advances of a cunning woman, and his guilt ridden core is masterfully blinded by his own desire for everything to be as he planned. Barbara Stanwych (who received a well deserved Oscar nomination) is a revelation as the devilish Phyllis, allowing her faux charms to woo us before exposing the person she really is.

The supporting cast is also stellar, from Edward G. Robinson's portrayal of the untrusting Keyes to Jean Heathers jilted step daughter and Tom Powers angry husband; all of whom add layers to the already complete film.

Watching a film like `Double Indemnity' makes me wish that every film were as complete and satisfying as these films of old. The stories were all so well thought out and elaborate, tightly woven to entice all of our senses. Today filmmakers are more concerned with visual grandeur than with mental stimulation, which is sad because a film falls flat without a worthy plot to lift it up. `Double Indemnity' has that plot, perfectly fleshed out to keep us in complete awe of its every frame. August 29, 2008

Great Performances by Stanwyck and Robinson

This is an excellent film. Stanwyck is an extraordinary actress who has the ability to convey the sex appeal, power, and vulnerability of the femme fatale who sets this murder plot in motion. Robinson is also truly great at making the honest claims adjuster utterly convincing. His relationship with MacMurray is, ironically enough, the real love story of the movie.

Without these two great performances, this is simply a standard Grade B movie. Fred MacMurray does a good job, but unlike Robinson and Stanwyck, he can't breath enough life into this role to make it utterly convincing. Not that this was an easy acting job -- but he doesn't quite bring it off.

My problem with the movie is the motivation of MacMurray. There is not enough time for him to develop an impassioned relationship with Stanwyck. Yes, she's a dish, to use the parlance of the day, but come on -- he's planning murder before he even knows her. Roger Ebert argues that the real motive here was not the sex, but the thrill of the murder and the sin itself. Perhaps that was Billy Wilder's point. But I just remain unconvinced by MacMurray's character.

Anyway -- it's a wonderful movie that looks great on this DVD set. August 28, 2008

Good Movie

For the times, it's a wonderful production. Great direction and the acting is above par for most of the cast. Sorry-but I don't buy MacMurray as being anywhere near capable of the crimes committed in this film. There's just nothing hard or ruthless about him. Robinson and Stanwyck were wonderful and easily stole every scene they were in against MacMurray and there is still a high level of suspense even though you pretty much know how everything is gonna play out. Overall, for classic film lovers this is definitely a must see. May 14, 2008

Riveting film noir.

"I killed him for money -- and for a woman. I didn't get the money. And I didn't get the woman."

So begins one of the most riveting films of the era, immediately drawing you into a tangled web of lies, crime, romance and even humor. Fred MacMurray begins the intrigue with his confession into a recorder. For baby boomers, it's hard to believe that this is the Dad from My Three Sons and Disney's inventor of Flubber! The plot moves along with the same tension that readers' found in Raymond Chandler's novels, and that's saying a lot!

Barbara Stanwick is sexy and manipulative, all the while seeming somehow clean and innocent. This is the gold-standard performance that set the standard for femme fatle characters for many years to come. The duplicity is frightening to behold.

Edward G. Robinson is a claims investagator, and his performance is top-notch.

If you have never seen Double Indemnity before, I highly recommend that you buy it sight-unseen. If you have seen it before, buy it and refresh your memory of the initial power that film had on its audience.

It's one of the top films of all time, and the actors are all brilliant. April 30, 2008

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