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Double Indemnity - Wikipedia
Double Indemnity is a American psychological thriller film noir directed by Billy Wilderco-written by Wilder and Raymond Chandlerand produced by Buddy DeSylva and Joseph Sistrom. The screenplay was based on James M. Cain 's novel of the same titlewhich appeared as an eight-part serial for the Liberty magazine in February The film stars Fred MacMurray as an insurance salesman, Barbara Stanwyck as a provocative housewife who is accused of killing her husband, and Edward G.
Robinson as a claims adjuster whose job is to find phony claims. The term " double indemnity " refers to a clause in certain life insurance policies that doubles the payout in rare cases when the death is accidental.
Praised by many critics when first released, the film was nominated for seven Academy Awards but did not win any. Widely regarded as a classic, it often is cited as having set the standard for film noir. Deemed "culturally, historically, or aesthetically significant" by the U. Library of Congress inDouble Indemnity was selected for preservation in the National Film Registry.
Wilder considered Double Indemnity his best film in terms of having the fewest scripting and shooting errors, [4] doane voice cinema film theory essay always maintained that the two things he was proudest of in his career were the compliments he received from Cain about Double Indemnity and from Agatha Christie for his handling of her Witness for the Prosecution.
InWalter Neff, an insurance salesman, returns to his office in downtown Los Angeles with a gunshot wound to the shoulder. He records a confession on a dictaphone for his friend and colleague, claims adjuster Barton Keyes. A flashback ensues. Neff meets the alluring Phyllis Dietrichson during a house call to remind her husband to renew his automobile insurance policy.
They flirt, until Phyllis asks about buying an accident insurance policy for her husband - without his knowledge. Neff deduces Phyllis is contemplating murder, and wants no part of it. Eventually though, she seduces him, and he tricks her husband into signing what he thinks is a renewal.
The policy has a double indemnity clause that pays double for an accidental death. Later, Phyllis drives her husband to the train station to attend his college reunion. Neff, hiding in the back seat, doane voice cinema film theory essay him, then boards the train posing as Mr. After the train gets underway, he goes to the outdoor platform at the back, doane voice cinema film theory essay, ostensibly to smoke.
He jumps off at a prearranged spot to doane voice cinema film theory essay Phyllis and drag Dietrichson's body onto the tracks. Norton, the company's president, believes the death was suicidebut Keyes dismisses this theory. Soon, however, he begins to have doubts about the claim's legitimacy. Keyes tells Neff his theory while Phyllis hides behind the door: that she and an accomplice murdered Dietrichson for the insurance money.
But he has no proof. The victim's daughter, Lola, tells Neff she is convinced that her stepmother Phyllis is behind her father's death. Lola's mother also died under suspicious circumstances, and Phyllis was her nurse. Neff begins seeing Lola to keep her from going to the police with her suspicions, and later through guilt and to protect her from Phyllis.
Neff fears Phyllis will murder Lola over her suspicions and because Dietrichson had changed his will in Lola's favor, leaving Phyllis nothing. Keyes finds a witness who says the man on the train was younger than the dead man. Neff warns Phyllis that pursuing the insurance claim in court risks exposing the murder. He tries to convince her to lie low and let him try to convince Norton to pay out the claim.
Lola tells Neff she has discovered that her boyfriend, the hotheaded Nino, has been seeing Phyllis behind her back. Neff confronts Phyllis and tells her that he knows about her and Nino. He guesses she is planning for Nino to kill Lola and him, but tells her that he intends to kill her and frame Nino, doane voice cinema film theory essay. She shoots him in the shoulder, but finds herself unable to finish him off, realizing that she cares for someone else for the first time in her life.
Neff does not believe her. He takes the gun and kills her. He waits for Nino and advises him not to enter the house. He convinces him to call Lola. Neff drives to doane voice cinema film theory essay office and turns on the dictaphone, returning to the start of the film. Keyes arrives unnoticed and hears the truth. Neff tells him he is fleeing to Mexico, but collapses. Keyes lights a cigarette as they wait for the police doane voice cinema film theory essay an ambulance.
James M. Cain based his novella on a murder perpetrated by a married Queens, New York, woman and her lover whose trial he attended while working as a journalist in New York. The front page photo of Snyder's execution in the electric chair at Sing Singcaptured by reporter Tom Howard using a hidden camera attached to his right ankle, has been called the most famous newsphoto of the s. Double Indemnity began making the rounds in Hollywood shortly after it was published in Liberty magazine in Cain had made a name for himself the year before with The Postman Always Rings Twicea story of murder and passion between a migrant worker and the unhappy wife of a café owner.
Cain's agent sent copies of the novella to all the major studios and within days, MGMWarner Bros. Then a letter went from Joseph Breen at the Hays Officeand the studios withdrew their bids at once. In it, Breen warned:. The general low tone and sordid flavor of this story makes it, in our judgment, thoroughly unacceptable for screen presentation before mixed audiences in the theater.
I am doane voice cinema film theory essay you will agree that it is most important to avoid what the code calls "the hardening of audiences," especially those who are young and impressionable, to the thought and fact of crime, doane voice cinema film theory essay.
Eight years later, the film was added to the collection of Cain's works titled Three of a Kind. Wilder, Paramount executive William Dozier and Sistrom decided to move forward anyway. They submitted a film treatment crafted by Wilder and his writing partner Charles Brackett[11] and this time the Hays Office approved the project with only a few objections: the portrayal of the disposal of the doane voice cinema film theory essay, a proposed gas-chamber execution scene, and the skimpiness of the towel worn by the female lead in her first scene.
After Paramount purchased the rights to the novella for Wilder, the next step was a screenplay. The property was regarded around Hollywood as unfilmable because of its iniquitous characters and the restrictions imposed by the Motion Picture Production Code. Although he had worked on the treatment, doane voice cinema film theory essay, Charles Brackett decided it was too sordid and bowed out of the project, leaving Wilder to find another collaborator.
His first choice, Cain was working for another studio and unavailable although Cain claimed he never asked. Wilder later recalled with disappointment his first meeting with Chandler. Envisioning a former private detective who had worked his own experiences into gritty prose, he instead met a man he later described as looking like an accountant. Chandler was new to Hollywood, but saw it as a golden opportunity.
To help guide him in writing a screenplay, Wilder gave Chandler a copy of his own screenplay for the Hold Back the Dawn to study. After the first weekend, Chandler presented 80 pages that Wilder characterized as "useless camera instruction"; [15] Wilder quickly put it aside and informed Chandler that they would be working together, slowly and meticulously, doane voice cinema film theory essay.
Doane voice cinema film theory essay all accounts, the pair did not get along during their four months together. At one point Chandler even quit, submitting a long list of grievances to Paramount as to why he could no longer work with Wilder.
Wilder, however, stuck it out, admiring Chandler's gift with words and knowing that his dialogue would translate very well to the screen. Chandler and Wilder made considerable changes to Cain's story. For one thing, the ending was overhauled. For another, the character of Barton Keyes was changed from a fairly clueless co-worker into an enemy mentor. Initially, Wilder and Chandler had intended to retain as much of Cain's original dialogue as possible.
It was Chandler who first realized that the dialogue from the novella did not translate well to the screen. Wilder disagreed and was annoyed that Chandler was not putting more of it into the script. To settle it, Wilder hired a couple of contract players from the studio to read passages of Cain's original dialogue aloud. To Wilder's astonishment, Chandler was right, and in the end, the movie's cynical and provocative dialogue was more Chandler and Wilder than it was Cain.
By visiting various locations that figured into the film, doane voice cinema film theory essay, he brought a sense of realism about Los Angeles that seeped into the script. For example, he hung around Jerry's Market on Melrose Avenue in preparation for the scene during which Phyllis and Doane voice cinema film theory essay discreetly meet to plan the murder.
The tumultuous relationship between Wilder and Chandler only enhanced the product of their collaboration. Wilder, in fact, believed that discord, a tug-of-war, was a vital ingredient, necessary for a fruitful collaboration: "If two people think alike," he once said, "it's like two men pulling at one end of a rope. If you are going to collaborate, you need an opponent to bounce things off of. This is significant because, other than a snippet from a home movie, there is no other footage of Chandler known anywhere.
When Chandler came to work with Wilder, he was a recovering alcoholic. Wilder said: "He was in Alcoholics Anonymous, and I think he had a tough time with me — I drove him back into drinking.
How could we? He was under the table drunk at Lucy's," a nearby watering hole for Paramount employees. This relationship with Chandler is what drew Wilder to his next film, The Lost Weekendabout an alcoholic writer. Wilder made the film, in part, "to explain Chandler to himself.
Cain was impressed with the way his book turned out on the screen. After seeing the picture half a dozen times, he was quoted as saying "It's the only picture I ever saw made from my books that had things in it I wish I had thought of, doane voice cinema film theory essay. Wilder's ending was much better than my ending, and his device for letting the guy tell the story by taking out the office dictating machine — I would have done it if I had thought of it.
Wilder's and Brackett's estrangement during Double Indemnity was not a permanent one. Years later, Wilder characterized their time apart as just another kind of adultery: " was 'The Year of Infidelities, ' " he said. I wrote Double Indemnity with Raymond Chandler I don't think he ever forgave me.
We Need To Talk About 'Auteur Theory' - A Visual Essay
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Aug 13, · bu maçta barcelona kalecisi pinto; hayrettin demirbaş penaltısı yedi. bugün literatürde panenka penaltısı var, hayrettin demirbaş penaltısı yoksa bu bizim ayıbımızdır. nasıl panenka'nın kendine özgü bir penaltı atma stili varsa hayrettin'in de kendine özgü bir penaltı yeme şekli vardı. 17 penaltı yediği 28 kasım gençlerbirliği galatasaray maçında zirve Is the essay in the required format and conventional style? (For example, are titles in italics or underlined?) (pp. , ) 9. Have I corrected all typographical, spelling and punctuation mistakes? (pp. , ) Finally, is the tone of the essay appropriate, given its presumed audience and subject matter? (p. 2) Likes, 3 Comments - UW-Milwaukee (@uwmilwaukee) on Instagram: “Happy #PantherPrideFriday ���� Tag us in your photos to be featured on our page or in our Photos of ”
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