Double Indemnity (1944)

Calificación de los usuarios:

8.6/10   

Director:

Billy Wilder

Escritores:

James M. Cain (novel)
Billy Wilder (screenplay) ...

Fecha de Lanzamiento:

6 septiembre 1944 (USA)

Género:

Crimen | Cine Negro | Suspenso

Frase comercial:

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 | Murder | Insurance Investigator | Train | Marriage

Premios:

Nominated for 7 Oscars. Another 1 win

Comentarios de los usuarios:

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.

US TV Schedule:

Thur. July 16

9:00 AM

TCM

Reparto

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
listado alfabético del resto del reparto:
George Anderson	...	Warden at Execution (scenes deleted)
Al Bridge	...	Execution Chamber Guard (scenes deleted)
Edward Hearn	...	Warden's Secretary (scenes deleted)
Boyd Irwin	...	First Doctor at Execution (scenes deleted)
George Melford	...	Second Doctor at Execution (scenes deleted)
William O'Leary	...	Chaplain at Execution (scenes deleted)
Lee Shumway	...	Door Guard at Execution (scenes deleted)

También conocida como:

Pacto de sangre (Argentina) [es]
Perdición (Spain) [es]

Duración:

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

País:

USA

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric Mirrophonic Recording)

Clasificación:

Germany:16 | Norway:16 | South Korea:15 | Portugal:M/12 | Argentina:16 | Australia:PG | Finland:K-16 | Sweden:15 | USA:Unrated | USA:Approved | UK:PG

Locaciones de Filmación:

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

Compañía:

Paramount Pictures

Trivialidades:

In the scene where Phyllis is listening at Neff's door as he talks with Keyes, Keyes exits into the hallway and Phyllis hides behind the door. The door opens into the hallway which isn't allowed by building codes even back then, but it does give Phyllis something to hide behind and increases the tension.

Errores:

Continuidad: 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.

Citas:

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

Conexiones de Película:

Referenced in "The Simpsons: Dial 'N' for Nerder (#19.14)" (2008)

Banda de Sonido:

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.