Double Indemnity (1944)

Director:

Billy Wilder

Writers:

Billy Wilder (screenplay) and
Raymond Chandler (screenplay) ...
(more)

Release Date:

24 April 1944 (USA)

Genre:

Crime | Drama | Film-Noir | Thriller

Tagline:

It's Love And Murder At First Sight !

Plot:

An insurance rep lets himself be talked into a murder/insurance fraud scheme that arouses an insurance investigator's suspicions.

Plot Keywords:

Insurance | Double Indemnity | Insurance Investigator | Murder | Insurance Policy

Awards:

Nominated for 7 Oscars. Another 3 wins

Cast

Fred MacMurray	...	Walter Neff
Barbara Stanwyck	...	Phyllis Dietrichson
Edward G. Robinson	...	Barton Keyes
Porter Hall	...	Mr. Jackson
Jean Heather	...	Lola Dietrichson
Tom Powers	...	Mr. Dietrichson
Byron Barr	...	Nino Zachetti
Richard Gaines	...	Edward S. Norton, Jr.
Fortunio Bonanova	...	Sam Garlopis
John Philliber	...	Joe Peters
rest of cast listed alphabetically:
James Adamson	...	Pullman Porter (uncredited)
John Berry	...	Bit Part (uncredited)
Raymond Chandler	...	Man Reading Book (uncredited)
Edmund Cobb	...	Train Conductor (uncredited)
Kernan Cripps	...	Conductor (uncredited)
Betty Farrington	...	Nettie - Dietrichsons' Maid (uncredited)
Bess Flowers	...	Norton's Secretary (uncredited)
Miriam Franklin	...	Keyes' Secretary (uncredited)
Harold Garrison	...	Redcap (uncredited)
Eddie Hall	...	Man in Drug Store (uncredited)
Teala Loring	...	Pacific All-Risk Telephone Operator (uncredited)
George Magrill	...	Man (uncredited)
Sam McDaniel	...	Charlie - Garage Attendant (uncredited)
Billy Mitchell	...	Pullman Porter (uncredited)
Clarence Muse	...	Man (uncredited)
Constance Purdy	...	Fat Shopper in Market (uncredited)
Dick Rush	...	Pullman Conductor (uncredited)
Floyd Shackelford	...	Pullman Porter (uncredited)
Oscar Smith	...	Pullman Porter (uncredited)
Douglas Spencer	...	Lou Schwartz (uncredited)

Directed by
Billy Wilder

Writing credits
Billy Wilder		(screenplay) and
Raymond Chandler		(screenplay)
James M. Cain		(from the novel by)

Produced by
Buddy G. DeSylva	....	executive producer (uncredited)
Joseph Sistrom	....	producer (uncredited)

Original Music by
Miklós Rózsa		(as Miklos Rozsa)

Cinematography by
John F. Seitz		(director of photography) (as John Seitz)

Casting by
Harvey Clermont		(uncredited)

Art Direction by
Hans Dreier
Hal Pereira

Set Decoration by
Bertram C. Granger		(as Bertram Granger)

Costume Design by
Edith Head		(costumes)

Makeup Department
Wally Westmore	....	makeup artist
Hollis Barnes	....	hair stylist (uncredited)
Robert Ewing	....	makeup artist (uncredited)
Charles Gemora	....	makeup artist (uncredited)

Production Management
Al Trosin	....	assistant production manager (uncredited)

Second Unit Director or Assistant Director
Charles C. Coleman	....	assistant director (uncredited)
Bill Sheehan	....	second assistant director (uncredited)

Art Department
Jack Colconda	....	props (uncredited)
Jim Cottrell	....	props (uncredited)
Paul Tranz	....	engineer (uncredited)

Sound Department
Stanley Cooley	....	sound recordist
Walter Oberst	....	sound recordist
Jack Duffy	....	cableman (uncredited)
H.O. Kinsey	....	recordist (uncredited)
Loren L. Ryder	....	sound recordist (uncredited)

Visual Effects by
Farciot Edouart	....	process photography

Camera and Electrical Department
Ed Henderson	....	still photographer (uncredited)
Walter McLeod	....	key grip (uncredited)
Otto Pierce	....	camera operator (uncredited)
Bill Pillar	....	mike grip (uncredited)
Chet Stafford	....	electrician (uncredited)
Harlow Stengel	....	camera operator (uncredited)
Paul Tranz	....	dolly grip (uncredited)

Costume and Wardrobe Department
Neva Bourne	....	wardrobe (uncredited)
Eugene Joseff	....	costume jeweller (uncredited)
Bill Rabb	....	wardrobe (uncredited)

Editorial Department
Doane Harrison	....	editorial supervisor
Lee Hall	....	assistant editor (uncredited)

Music Department
Eugene Zador	....	orchestrator (uncredited)

Other crew
Jack Gage	....	dialogue director (uncredited)
Nancy Lee	....	script clerk (uncredited)
Dorothy Staton	....	stand-in: Ms. Stanwyck (uncredited)
John R. Woolfenden	....	publicist (uncredited)

Production Companies

• Paramount Pictures

Distributors

• Paramount Pictures (1944) (USA) (theatrical) (as A Paramount Picture)
• Eureka Entertainment (2012) (UK) (DVD) (Blu-ray)
• Paramount Pictures (1945) (Finland) (theatrical)
• Paramount (1946) (France) (theatrical)
• Motion Picture Export Association (MPEA) (1947) (Netherlands) (theatrical)
• Paramount Pictures (1949) (USA) (theatrical) (re-release)
• Paramount Films (1955) (Netherlands) (theatrical) (re-release)
• 4 Front Video (2005) (UK) (DVD)
• Argentina Video Home (2000) (Argentina) (VHS)
• Atlantic Film (2010) (Finland) (DVD)
• Atlantic Film (2008) (Sweden) (DVD)
• Columbia TriStar Home Entertainment (2000) (Brazil) (DVD)
• Giangiacomo Feltrinelli Editore (2006) (Italy) (DVD)
• Image Entertainment (1998) (USA) (DVD)
• MCA/Universal Home Video (19??) (USA) (video) (laserdisc)
• MCA/Universal Pictures (1958) (USA) (TV)
• Madman Entertainment (2006) (Australia) (DVD)
• Madman Entertainment (2008) (Australia) (DVD)
• Madman Entertainment (2008) (New Zealand) (DVD)
• Mainostelevisio (MTV3) (1978) (Finland) (TV) (as MTV1)
• Pan Vision Oy (2009) (Finland) (DVD)
• Universal Home Entertainment (2004) (USA) (DVD)
• Universal Studios Home Entertainment (2012) (USA) (DVD) (4 film set)
• Universal Studios Home Video (2012) (Canada) (DVD) (4 film set)
• Universal Studios Home Video (2006) (USA) (DVD)
• Universum Film (UFA) (2008) (Germany) (DVD)
• Versátil Home Vídeo (2006) (Brazil) (DVD)
• Yleisradio (YLE) (2001) (2007) (2009) (Finland) (TV)

Also Known As:

Runtime:

107 min | Argentina:110 min | Canada:90 min (Ontario)

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Certification:

Argentina:16 | Australia:PG | Finland:K-16 | Sweden:15 | USA:Approved (PCA #9717) | UK:PG | Germany:16 | Norway:16 | South Korea:15 | Portugal:M/12 | Netherlands:18 (original rating) (1947) | Netherlands:18 (re-rating) (1955) | USA:Passed (National Board of Review) | USA:Not Rated

Filming Locations:

1825 N. Kingsley Drive, Hollywood, Los Angeles, California, USA

Company:

Paramount Pictures

Trivia:

We never learn the first name of Mr. Dietrichson.

Goofs:

Continuity: After Neff meets with the President of his company, he returns to his apartment and places a folder on the chair to the right of the door. When Keyes comes to the door, after Neff's brief phone conversation, the folder is nowhere to be seen.

Quotes:

[first lines]
Building attendant:Well, hello there, Mr. Neff.

Movie Connections:

Featured in "Siskel & Ebert: Fatal Instinct/Demolition Man/The Remains of the Day/Twenty Bucks" (1993)

Soundtrack:

Tangerine

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.