DOUBLE INDEMNITY (1944)

Country: U.S.A.

Genre(s): Crime / Drama

Director: Billy Wilder

Cast: Fred MacMurray / Barbara Stanwyck / Edward G. Robinson

Plot

Insurance salesman Walter Neff falls for femme fatale Mrs. Dietrichson and is convinced to aid her in the murder of her husband for the payoff of an accidental death policy.

What I Liked

This one was scripted by Raymond Chandler, the master of hard-boiled detective novels like “The Big Sleep.”  Although it is based off of a novel written not by Chandler but by Joseph M. Cain, the film still bares many Chandler hallmarks: the femme fatale; the cool, detached dialogue; the low-life creeps looking for the fast track to a perverted American dream.  However, unlike a standard Chandler story, this tale is told from the point of view of the culprit and not the man investigating the crime.  This perspective, with its tale of the sure thing gone terribly wrong, takes “Double Indemnity” out of the standard hard-boiled detective genre and into film noir territory.  In fact, many consider "Double Indemnity" the first film noir picture.

 Particularly captivating are themes surrounding the femme fatale herself, Phyllis Dietrichson.  Although she is sometimes pictured outside of it, Phyllis' essence seems connected to the big, lavish-looking house in which she lives, an imitation of a Spanish design that was once in style but is no longer.  The house appears beautiful and glamorous on the outside but once we get inside it feels lifeless, with the exception of the beautiful but morally vacant Mrs. Dietrichson herself, who spends her days plotting the deaths of those who trust her.  Both the woman and her surroundings speak to a shallow interpretation of success that is nothing but a mask for a hollow reality.

The script is acted out by a terrific cast, highlighted by Edward G. Robinson's performance as insurance investigator Keyes.  Robinson's rapid-fire delivery of his dialogue, pugnacious gusto, and scene stealing charisma conveys his character's honest passion for both his job and the truth itself.  His portrayal is so perfect that one can see other actors simply rehashing Robinson's act for similar characters in countless subsequent movies.  Think Jackie Cooper as Perry White in “Superman,” for example.

What I Didn't Like

As much as I love Chandler's writing, the dialogue in this film is very dated and the cliches of hard-boiled dialogue are so over-used that as time goes on the film sometimes seems like a parody rather than a serious drama.  That impression is of course because so many parodies of the 40s crime films have been made in the decades between then and now that it's hard to take all the “Baby” “Dame” and “Tramp” talk seriously.  I'm sure in 1944 it was all seemed very fresh, entertaining banter, so I can't fault Chandler and director Billy Wilder for overdoing it.

Most Memorable Scene:

The opening sequence of the film engrosses the viewer right away Walter Neff makes a late-night trip to the office, perplexing the elevator man as he tries to hide his injury.  When he makes it inside and begins to make his confession Chandler's dialogue is still fresh and fun to hear coming from Fred MacMurray, who was usually cast in much more wholesome roles.  As a result of the mystery and intrigue created by these opening moments, the viewer is captivated almost imediately.

My Rating: 4.5 out of 5