Part of Noir-November

“I wonder if I know what you mean.” “I wonder if you wonder.”

The insurance business is an inherently slimy game. Doesn’t matter the type: life, health, automobile, disability. It’s all dirty. It can’t help but be. Everyone needs the product—everyone faces risks against which they must hedge—but the insurer only makes a buck by not paying out claims. All well and good if no claims come in, but people inevitably die or get sick, wreck their cars or have accidents. Claims are inevitably made. The insurer’s job ends up being not to provide the service it has just sold. It’s a bait and switch—a promise of assistance followed by a laundry list of reasons why that…

Just last week, I watched Notorious for the first time. It was just about perfect, really, except for one thing: in his darker films, Hitchcock tends to make his protagonists unsympathetic and his leading ladies unconvincingly good. Because of that, there seems something missing in his noirish films, in Notorious and Rear Window and a few others, that makes me dislike them just a little more than I should.

Well, Double Indemnity does just the opposite, and how I love it. It's sort of like Psycho, in that the leading man is oddly sympathetic and the leading lady always suspect. But there's a core of sadness in the lead pair in Double Indemnity, instead of the shiftiness that characterizes both…

If there ever were a fitting cinematic companion piece to Poe's "The Tell-Tale Heart," Billy Wilder's "Double Indemnity" would make a worthy candidate. Stark and spare, a tangible note a foreboding guilt hangs over Wilder's dark drama as it characters' schemes tangle and threaten to fall apart. Crackling with unwavering tension and conniving ambition, the classic noir is every bit as good as its reputation suggests; and that reputation suggests an excellent, pioneering, and fully engrossing work of film.

"Double Indemnity" is all about the art of the scheme. When an insurance man gets caught up in a plot to kill a man for his insurance policy, no one involved will ever be the same. Hushed-tone voice-overs, femme fatales, and…

Establishing the genre of film-noir in cinema, catapulting Billy Wilder into the big leagues of Hollywood filmmakers & expertly sustaining its foreboding ambience throughout its runtime, Double Indemnity is one of the brightest works of Wilder's career which, in spite of revealing its finale to the viewers in its opening moments, succeeds in carving out its own moments of suspense.

Based on James M. Cain's 1943 novella of the same name, Double Indemnity tells the story of an experienced insurance salesman who starts an affair with the seductive wife of one of his clients & devises a scheme to murder his client in a manner that invokes the double indemnity clause of his insurance plan. Trouble begins when his boss begins to…

If you like your dialogue to snap, mixed with a little bit of misogyny and some good old fashioned cynicism, then Billy Wilder is your man. With a firecracker of a script adapted from a novel of the same name, Double Indemnity burns off the screen as a trio of single minded characters all race to outwit each other.

Film noir doesn't come any slicker than hearing Walter Neff's recollection on the blonde dame that plagues his mind after he first claps eyes on her. Neff is a man that has it all figured before he walks into the Dietrichson residence looking to wrap up a simple sales renewal. He dresses slick and talks fast with an answer for everything,…

Introduction to Film Studies
Film #6
Double Indemnity (1944).

"Good-bye baby."

I want to talk like Fred MacMurray. I like his speech patter and how he talks to women.

This was a damn great movie. The beginning, like the first 5 minutes, was a little rough. I wasn’t sure if I’d be that into it. After that, I ever so slowly loved this. All the performances are topnotch, and the screenplay is just excellent. It’s perfect writing in terms for a film nori. The cinematography was also really well done. I like the way you see all the shadows with the blinds and such.
There’re a few small little things that are dated. I saw the ending coming, but that…

~ Films Screened for School ~

“Suddenly it came over me that everything would go wrong. It sounds crazy, Keyes, but it's true, so help me. I couldn't hear my own footsteps. It was the walk of a dead man.”

So, let me start off by saying that Billy Wilder is a master.  This film was technically brilliant:  the cinematography; the direction; the angles; the framing; the black and white - everything was great.  The performances were also fantastic.  Fred Macmurray is excellent as the lead and Robinson and Stanwyk both do great supporting work.  The score was amazing.  I really loved the theme for this one - dark and moody, with a sense of mystery.  Honestly, this could make…