493 reviews
Vintage Noir Film with gritty interpretation , atmospheric settings , crackling dialogue throughout and powerhouse filmmaking . This Billy Wilder's first thriller is one of the finest Noir film ever made . A scheming wife (Barbara Stanwyck) lures an insurance salesman (Fred MacMurray , though Alan Ladd, George Raft, Brian Donlevy, James Cagney, Spencer Tracy, Gregory Peck, and Fredric March were all up for the leading role) into helping murder her husband and then declare it an accident . Both of whom concoct a twisted scheme to collect the benefits of a insurance policy . As the hubby's policy contains a clause that states that if the husband's death caused by a moving train the policy pays double face value . The investigator's boss (Edward G. Robinson) , not knowing his colleague is involved in it , suspects murder and sets out to prove it .
This first-rate and entertaining American classic Noir film draws its riveting tale and power from the interaction of finely drawn roles as well as drama , emotion and moody atmosphere . This classic mystery thriller follows James M Cain's book fairly closely otherwise . Twisted film Noir about murder , troubled relationships , treason , dark secrets , including an unforgettable dialog ; being based on the James M Cain's novel , which in turn was based on the true story of Ruth Snyder, the subject of a notorious 1920s murder trial , being screen-written by the prestigious Raymond Chandler and the same Billy Wilder . However , Billy Wilder and Raymond Chandler did not get along well while writing this film's script, a process that was apparently filled with arguments . As Billy Wilder didn't really get on with the famous novelist whose constant drinking irritated the director . It packs a good realization , an original script , haunting atmosphere , intriguing events ; for that reason madness and murder prevail . Fred MacMurray is superb as insurance salesman coerced into murder plot and Barbara Stanwick as predatory and alluring Femme Fatale is magnificent . Here his colleague Edward G Robinson is extraordinary and as cool as ever ; he plays as the astute and stubborn investigator , his scenes with Fred MacMurray are awesome and at their best . But Edward G. Robinson's initial reluctance to sign on largely stemmed from the fact he wasn't keen on being demoted to third lead . Good support cast formed by notorious secondaries such as Porter Hall , Tom Powers , Jean Heather , Byron Barr and Fortunio Bonanova . And Raymond Chandler's cameo , this marks the only film appearance of screenwriter and novelist Raymond Chandler .
Exciting as well as complex film , possessing a mysterious and fascinating blend of gripping thriller , serenity , baroque suspense in which especially stands out the portentous performances , evocative cinematography in black and white by John F. Seitz and thrilling musical score by the classic Miklos Rozsa . The motion picture was stunningly directed by the great Billy Wilder , as the American Film Institute ranked this as the #29 Greatest Movie of All Time . The film was nominated for 7 Academy Awards but lost out on the night to Going my way (1944) by Leo McCarey. It got a deep inspiration for other films , it is particularly obvious for ¨Body heat¨ by Lawrence Kasdan with William Hurt , Kathleen Turner and Richard Crenna . Remade for TV in 1954 by Buzz Kulik with Frank Lovejoy , Ray Collins and Laraine Day , and 1973 TV remake of the 1940s classic by Jack Smight with Richard Crenna , Samantha Eggar , and Robert Webber .
This first-rate and entertaining American classic Noir film draws its riveting tale and power from the interaction of finely drawn roles as well as drama , emotion and moody atmosphere . This classic mystery thriller follows James M Cain's book fairly closely otherwise . Twisted film Noir about murder , troubled relationships , treason , dark secrets , including an unforgettable dialog ; being based on the James M Cain's novel , which in turn was based on the true story of Ruth Snyder, the subject of a notorious 1920s murder trial , being screen-written by the prestigious Raymond Chandler and the same Billy Wilder . However , Billy Wilder and Raymond Chandler did not get along well while writing this film's script, a process that was apparently filled with arguments . As Billy Wilder didn't really get on with the famous novelist whose constant drinking irritated the director . It packs a good realization , an original script , haunting atmosphere , intriguing events ; for that reason madness and murder prevail . Fred MacMurray is superb as insurance salesman coerced into murder plot and Barbara Stanwick as predatory and alluring Femme Fatale is magnificent . Here his colleague Edward G Robinson is extraordinary and as cool as ever ; he plays as the astute and stubborn investigator , his scenes with Fred MacMurray are awesome and at their best . But Edward G. Robinson's initial reluctance to sign on largely stemmed from the fact he wasn't keen on being demoted to third lead . Good support cast formed by notorious secondaries such as Porter Hall , Tom Powers , Jean Heather , Byron Barr and Fortunio Bonanova . And Raymond Chandler's cameo , this marks the only film appearance of screenwriter and novelist Raymond Chandler .
Exciting as well as complex film , possessing a mysterious and fascinating blend of gripping thriller , serenity , baroque suspense in which especially stands out the portentous performances , evocative cinematography in black and white by John F. Seitz and thrilling musical score by the classic Miklos Rozsa . The motion picture was stunningly directed by the great Billy Wilder , as the American Film Institute ranked this as the #29 Greatest Movie of All Time . The film was nominated for 7 Academy Awards but lost out on the night to Going my way (1944) by Leo McCarey. It got a deep inspiration for other films , it is particularly obvious for ¨Body heat¨ by Lawrence Kasdan with William Hurt , Kathleen Turner and Richard Crenna . Remade for TV in 1954 by Buzz Kulik with Frank Lovejoy , Ray Collins and Laraine Day , and 1973 TV remake of the 1940s classic by Jack Smight with Richard Crenna , Samantha Eggar , and Robert Webber .
Walter Neff wants to sell you insurance, in an uncertain world, he wants to give you assurance, if a loved one is lost, for a minimal cost, he can recompense with a small finance. Phyllis Dietrichson likes the idea, of insuring her husband so dear, doesn't want him to know, about all of the dough, she'll receive if his luck disappears. Barton Keyes is a claimant inspector, a shrewd and discerning detector, of fraud and deceit, he'll find out if you cheat, has the stats to deduce the risk factor.
Three outstanding performances in a great piece of filmmaking that perpetually rewards on subsequent visits.
Three outstanding performances in a great piece of filmmaking that perpetually rewards on subsequent visits.
Author James M. Cain virtually created a new genre with his extra-tough, sin-blackened, and sex-drenched novels--and they were so successful with the public that not even 1940s Hollywood could resist. The result was three of the most famous films of that decade: MILDRED PIERCE, THE POSTMAN ALWAYS RINGS TWICE, and DOUBLE INDEMNITY. Although POSTMAN is probably the better film, INDEMNITY is the most famous--possibly due to the story's truly psychotic edge, which is given full life by Barbara Stanwyck in one of her most celebrated performances.
Like POSTMAN, INDEMNITY offers the story of a married woman who plots with her lover to murder her husband. Given MacMurray's typically "good guy" image, I didn't expect to believe him in the role of Walter Neff in the role of skirt-hungry Walter Neff--but MacMurray's performance is exceptionally good here, and all the more effective because it so completely unexpected. But while MacMurray has most of the screen time, it is really Stanwyck and Edward G. Robinson who dominate the film. Stanwyck is truly memorable here, and gives us a woman who seems at once sexed-up and completely frigid, at once completely natural and absolutely artificial. It is a remarkable and often disturbing effect. Robinson, who endured decades of type-casting, is equally good as the blustery, slightly comic, and absolutely honest insurance man whose job it is to ferret out suspicious claims; it is largely due to his performance, which gives the film a moral center, that we are able to buy into the otherwise off-beat performances that drive the action.
This was one of director Billy Wilder's first major hits, and he deserves considerable credit for making the weird elements of the story work as a whole, keeping the film smartly paced, and heaping it up with atmosphere. So influential that its impact would be difficult to over-estimate, DOUBLE INDEMNITY is a touchstone for the entire film noir genre. Recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer
Like POSTMAN, INDEMNITY offers the story of a married woman who plots with her lover to murder her husband. Given MacMurray's typically "good guy" image, I didn't expect to believe him in the role of Walter Neff in the role of skirt-hungry Walter Neff--but MacMurray's performance is exceptionally good here, and all the more effective because it so completely unexpected. But while MacMurray has most of the screen time, it is really Stanwyck and Edward G. Robinson who dominate the film. Stanwyck is truly memorable here, and gives us a woman who seems at once sexed-up and completely frigid, at once completely natural and absolutely artificial. It is a remarkable and often disturbing effect. Robinson, who endured decades of type-casting, is equally good as the blustery, slightly comic, and absolutely honest insurance man whose job it is to ferret out suspicious claims; it is largely due to his performance, which gives the film a moral center, that we are able to buy into the otherwise off-beat performances that drive the action.
This was one of director Billy Wilder's first major hits, and he deserves considerable credit for making the weird elements of the story work as a whole, keeping the film smartly paced, and heaping it up with atmosphere. So influential that its impact would be difficult to over-estimate, DOUBLE INDEMNITY is a touchstone for the entire film noir genre. Recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer
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.
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.
- Anonymous_Maxine
- Nov 7, 2000
- Permalink
Barbara Stanwyck changed the trajectory of her career with her ruthless, icy performance here. Fred MacMurray, however, would never again allow himself to duplicate anything similar to Walter Neff's troubled, doomed portrayal again on screen. Playing against their dark alliance, it is left to Edward G. Robinson to win the audience over as he struggles to shed light on the insurance fraud and murder.
This script should be studied by anyone who plans to write for TV or movies. Note the significant changes Wilder and Chandler made from James Cain's original novel - changes Cain admitted were improvements.
Especially worthy of mention is the level of artistry displayed in the final minutes when, after an hour and a half of of bitter nastiness, Wilder gives us just the smallest spoonful of sugar that wraps everything up perfectly. There's almost something criminal when evil is such a treat to watch.
- jmholmes-73727
- Feb 18, 2019
- Permalink
No need to recap the plot or echo consensus points.
From the minute he sees her slinking down the stairs in that spangled ankle bracelet, he's hooked. Walter Neff's already boarded that long, lonely trolley down the one-way track. Yes indeed, sultry Phyllis appears to be just the ticket he's been looking for. Great noir classic. All in all, Neff should have paid attention to that other member of the oddball triangle. Old man Keyes may be a born cynic, but despite himself, he's a father figure looking for a son to take his place, and warning Neff about the "Margie's" of the world. What he doesn't know is that this "Margie" definitely doesn't drink out of a bottle. What's more, Neff's already chosen to ride with the flashy crowd, get out of that dumpy apartment, and get into Phyllis's vicious little insurance swindle. As Keyes tellingly remarks, "You're not smarter than the rest, Walter, just a little taller." I like to think that Walter finally realizes his folly in that brilliant final scene, even if it is too late. Still, the film's cynical veneer is misleading. Because beneath all the deceits, betrayals, and ironies, lies a lighted match and one of the odder father-son relationships in Hollywood annals.
From the minute he sees her slinking down the stairs in that spangled ankle bracelet, he's hooked. Walter Neff's already boarded that long, lonely trolley down the one-way track. Yes indeed, sultry Phyllis appears to be just the ticket he's been looking for. Great noir classic. All in all, Neff should have paid attention to that other member of the oddball triangle. Old man Keyes may be a born cynic, but despite himself, he's a father figure looking for a son to take his place, and warning Neff about the "Margie's" of the world. What he doesn't know is that this "Margie" definitely doesn't drink out of a bottle. What's more, Neff's already chosen to ride with the flashy crowd, get out of that dumpy apartment, and get into Phyllis's vicious little insurance swindle. As Keyes tellingly remarks, "You're not smarter than the rest, Walter, just a little taller." I like to think that Walter finally realizes his folly in that brilliant final scene, even if it is too late. Still, the film's cynical veneer is misleading. Because beneath all the deceits, betrayals, and ironies, lies a lighted match and one of the odder father-son relationships in Hollywood annals.
- dougdoepke
- Apr 23, 2013
- Permalink
The best film adaptation of a James M. Cain novel ever made (neither version of "The Postman Always Rings Twice" even comes close). The script, by Billy Wilder and Raymond Chandler, is flawless. Wilder's direction is masterful. The cast is phenomenal, with Fred McMurray as a smart-talking but naive chump, Edward G. Robinson as a shrewd and relentless insurance investigator, and Barbara Stanwyck (her very best performance ever, IMO) as a scheming wife who wants her inconvenient husband out of the way.
The smartly-written dialogue still snaps and crackles and the suspense has lost none of its edge in the 70-plus years since the film was made. This is as fine a thriller as you'll ever see and a film that truly deserves being called a classic.
The smartly-written dialogue still snaps and crackles and the suspense has lost none of its edge in the 70-plus years since the film was made. This is as fine a thriller as you'll ever see and a film that truly deserves being called a classic.
- purrlgurrl
- Oct 12, 2019
- Permalink
This is one of the best-liked classic films of all time and I am among that large group of fans as well.
Few movies have ever had dialog this entertaining.....at least the conversations between Barbara Stanwyck and Fred MacMurray. I think it's a big appeal to this movie, except to younger folks who look at it as "cheesy."
I read the book, Double Indemnity written by James Cain, and was surprised that the film's snappy dialog was not in it. This is one of the rare times when the movie was far better than the book. That's not a shock after you find out that literary giant Raymond Chandler and Hall Of Fame director Billy Wilder combined to write the screenplay,
For a murder/suspense story, there is very little action, almost none, yet there are no boring lulls. The three main actors - Stanwyck, MacMurray and Edward G. Robinson, are what make this so good.
MacMurray's narration is fun to hear as he tells the story in flashback, from the beginning by dictating into an old Dictaphone to his co-worker Robinson. The latter is almost mesmerizing in his performance, the way he delivers his lines. He can even make a speech about something as boring as insurance and still keep you riveted to the screen.
Stanwyck was no sex symbol (at least to me) but she looked great here in the most seductive of 1940s clothing and, like Robinson, has a distinctive voice and accent that keeps your attention.
This film was the inspiration for the 1980 movie, "Body Heat," starring William Hurt and Kathleen Turner. That, too, was a very, very good movie....but not many films are in the class of this one.
Few movies have ever had dialog this entertaining.....at least the conversations between Barbara Stanwyck and Fred MacMurray. I think it's a big appeal to this movie, except to younger folks who look at it as "cheesy."
I read the book, Double Indemnity written by James Cain, and was surprised that the film's snappy dialog was not in it. This is one of the rare times when the movie was far better than the book. That's not a shock after you find out that literary giant Raymond Chandler and Hall Of Fame director Billy Wilder combined to write the screenplay,
For a murder/suspense story, there is very little action, almost none, yet there are no boring lulls. The three main actors - Stanwyck, MacMurray and Edward G. Robinson, are what make this so good.
MacMurray's narration is fun to hear as he tells the story in flashback, from the beginning by dictating into an old Dictaphone to his co-worker Robinson. The latter is almost mesmerizing in his performance, the way he delivers his lines. He can even make a speech about something as boring as insurance and still keep you riveted to the screen.
Stanwyck was no sex symbol (at least to me) but she looked great here in the most seductive of 1940s clothing and, like Robinson, has a distinctive voice and accent that keeps your attention.
This film was the inspiration for the 1980 movie, "Body Heat," starring William Hurt and Kathleen Turner. That, too, was a very, very good movie....but not many films are in the class of this one.
- ccthemovieman-1
- Dec 22, 2005
- Permalink
There are occasional times when all the elements come together to make a great film that will stand the passing of time. "Double Indemnity" seems to be an example of this phenomenon.
First, there was a great novel by one of America's best mystery writers, James Cain, who created these characters that seem will live forever in our imagination. Then, the lucky break in getting the right man to direct it, Billy Wilder, a man who knew about how to make a classic out of the material that he adapted with great care and elegance with Raymond Chandler, a man who knew about the genre.
"Double Indemnity" works because it's a story we can relate to. There is a greedy woman trapped in a bad marriage, who sees the opportunity when she encounters an insurance agent who is instantly smitten with her and who has only sex in his mind. The manipulator, Phyllis Dietrichson, doesn't need much to see how Walter desires her. His idea of having her husband sign an insurance policy he knows nothing about, thinking he is doing something else, will prove a fatal flaw in judgment.
Mr. Wilder achieves in this film what others try, with disastrous results. The director, who was working under the old Hays Code, shows so much sex in the film with fully clothed actors, yet one feels the heat exuding from the passion Walter Neff feels for Phyllis. He is a man that will throw everything away because he is blinded by the promise of what his life will be once the husband is out of the picture.
In life, as well as in fiction, there are small and insignificant things that will derail the best laid plans. First, there i Jackson, the man who shouldn't have been smoking at the rear of the train, contemplating the passing landscape. Then, no one counts in the ability of Barton Keys, the man in the agency who has seen it all! Walter and Phyllis didn't take that into consideration and it will backfire on their plan.
We try to make a point to take a look at "Double Indemnity" when it shows on cable from time to time. Barbara Stanwyck makes a magnificent Phyllis. There are no false movements in her performance. Phyllis gets under Walter's skin because she knows where her priorities lie and makes good use of them in order to render Walter helpless under her spell.
Fred McMurray makes a perfect Walter. He is consumed by his passion and he will do anything because of what he perceives will be the reward for doing the crime. Walter Neff was perhaps Mr. McMurray's best creation. He is completely believable and vulnerable.
Edgar G. Robinson, as Barton Keys, makes one of his best performances for the screen. Keys is a man that has seen all the schemes pass by his desk. He is, in a way, Walter's worst nightmare, because working next to Keys, he gets to know how wrong he was in the planning of the crime.
The supporting cast is excellent. Porter Hall, Jean Heather, Tom Powers, Richard Gaines, Fortunio Buonanova and John Philliber are perfect.
The music score of Miklos Rosza gives the film a texture and a dimension that capitalizes on the action it intends to enhance. Also the music of Cesar Franck and Franz Schubert contribute to the atmosphere of the movie. The great cinematography of John Seitz, who will go on to direct films, is another asset in the movie. Edith Head's costumes are absolutely what a woman like Phyllis would wear right down to her ankle bracelet.
This film shows a great man at his best: Billy Wilder!
First, there was a great novel by one of America's best mystery writers, James Cain, who created these characters that seem will live forever in our imagination. Then, the lucky break in getting the right man to direct it, Billy Wilder, a man who knew about how to make a classic out of the material that he adapted with great care and elegance with Raymond Chandler, a man who knew about the genre.
"Double Indemnity" works because it's a story we can relate to. There is a greedy woman trapped in a bad marriage, who sees the opportunity when she encounters an insurance agent who is instantly smitten with her and who has only sex in his mind. The manipulator, Phyllis Dietrichson, doesn't need much to see how Walter desires her. His idea of having her husband sign an insurance policy he knows nothing about, thinking he is doing something else, will prove a fatal flaw in judgment.
Mr. Wilder achieves in this film what others try, with disastrous results. The director, who was working under the old Hays Code, shows so much sex in the film with fully clothed actors, yet one feels the heat exuding from the passion Walter Neff feels for Phyllis. He is a man that will throw everything away because he is blinded by the promise of what his life will be once the husband is out of the picture.
In life, as well as in fiction, there are small and insignificant things that will derail the best laid plans. First, there i Jackson, the man who shouldn't have been smoking at the rear of the train, contemplating the passing landscape. Then, no one counts in the ability of Barton Keys, the man in the agency who has seen it all! Walter and Phyllis didn't take that into consideration and it will backfire on their plan.
We try to make a point to take a look at "Double Indemnity" when it shows on cable from time to time. Barbara Stanwyck makes a magnificent Phyllis. There are no false movements in her performance. Phyllis gets under Walter's skin because she knows where her priorities lie and makes good use of them in order to render Walter helpless under her spell.
Fred McMurray makes a perfect Walter. He is consumed by his passion and he will do anything because of what he perceives will be the reward for doing the crime. Walter Neff was perhaps Mr. McMurray's best creation. He is completely believable and vulnerable.
Edgar G. Robinson, as Barton Keys, makes one of his best performances for the screen. Keys is a man that has seen all the schemes pass by his desk. He is, in a way, Walter's worst nightmare, because working next to Keys, he gets to know how wrong he was in the planning of the crime.
The supporting cast is excellent. Porter Hall, Jean Heather, Tom Powers, Richard Gaines, Fortunio Buonanova and John Philliber are perfect.
The music score of Miklos Rosza gives the film a texture and a dimension that capitalizes on the action it intends to enhance. Also the music of Cesar Franck and Franz Schubert contribute to the atmosphere of the movie. The great cinematography of John Seitz, who will go on to direct films, is another asset in the movie. Edith Head's costumes are absolutely what a woman like Phyllis would wear right down to her ankle bracelet.
This film shows a great man at his best: Billy Wilder!
I've now seen this movie 14 times in 25 years, at all times of the year, in all moods, sober or not etc - but always at night. I recorded my copy off TV in 1987 so I can only imagine what a remaster would do for it. With an atmosphere thick enough to cut with a knife it never fails to engross and enchant me, and although it's been dated for 40 years or more still seems relevant and watchable today. TV, answer phones, recordable CD/DVD, memory sticks and the internet have all come between us and yet I can still watch Fred MacMurray speaking into a Dictaphone without a qualm. Who wears a hat in California nowadays? Who buys beer whilst driving! Lift attendants have gone but I can still believe in Charlie working and laughing away in the garage past 11 at night.
Woman and man agree to murder woman's husband but on the way to the cemetery they face grilling by insurance company. I think everything has been said before on the IMDb - by those who think it's one of the best films ever made! To those who simply think the main problem is that it's dated I wish you could see the TV commercials that dug into DI back in '87 - what a hoot - and compare. I've just noticed the print TCM UK is showing in 2005 is lip-synced out, very wobbly Rosza music track, fading and ageing fast - worse than my 1987 video tape (maybe logically). They're supposed to be encouraging people to enjoy the classics but they won't do that with such inferior screening copies. Dear TCM UK, this is an impressive iconic film - it deserves a billion dollar remaster authorised by the Library of Congress, not repeatedly trotting out unimpressive cheap worn dupes to fill those 2 hour slots.
Everything about DI from the acting, production, direction, and music is superbly dignified and is as "close to perfection" as human beings are probably allowed to get with this form of Art - especially with the more limited technology at their disposal in '44. When most films from now are long forgotten and dated DI will still be getting re-runs on TV and art-house cinemas - God and remasters willing - that is the fact of it.
Fortunia Bonanova certainly was fortunate to have appeared in bit parts in 2 of the best films ever made - Citizen Kane the other.
Woman and man agree to murder woman's husband but on the way to the cemetery they face grilling by insurance company. I think everything has been said before on the IMDb - by those who think it's one of the best films ever made! To those who simply think the main problem is that it's dated I wish you could see the TV commercials that dug into DI back in '87 - what a hoot - and compare. I've just noticed the print TCM UK is showing in 2005 is lip-synced out, very wobbly Rosza music track, fading and ageing fast - worse than my 1987 video tape (maybe logically). They're supposed to be encouraging people to enjoy the classics but they won't do that with such inferior screening copies. Dear TCM UK, this is an impressive iconic film - it deserves a billion dollar remaster authorised by the Library of Congress, not repeatedly trotting out unimpressive cheap worn dupes to fill those 2 hour slots.
Everything about DI from the acting, production, direction, and music is superbly dignified and is as "close to perfection" as human beings are probably allowed to get with this form of Art - especially with the more limited technology at their disposal in '44. When most films from now are long forgotten and dated DI will still be getting re-runs on TV and art-house cinemas - God and remasters willing - that is the fact of it.
Fortunia Bonanova certainly was fortunate to have appeared in bit parts in 2 of the best films ever made - Citizen Kane the other.
- Spondonman
- May 1, 2004
- Permalink
If you are a noir fan then this film is an absolute must see. The screenplay itself is a work of art in its charater construction, plot structure and dialogue which is delievered by an ensemble of first class actors divying up first class performances. Barbra Stanwyck as the deadly, smouldering, scheming Phyllis Dietrichson turns in a performance that is right up there with Mary Astor's Brigid O'Shaughnessy. Fred McMurray delievers a performance of a smart but desperately lovelorn patsy and Edward G. Robinson is perfect in the role of Barton Keyes and just about steals the moment every time he appears on screen.
I personally love a good Noir film and this is right up there with the best of them. Billy Wilder should be proud of this work eventhough the Academy didn't see it fit to reward him for his efforts, however I personally think this film is an absolute winner.
I personally love a good Noir film and this is right up there with the best of them. Billy Wilder should be proud of this work eventhough the Academy didn't see it fit to reward him for his efforts, however I personally think this film is an absolute winner.
- The_Experiment_In_Terror
- Dec 22, 2002
- Permalink
Everyone knows this film and everyone loves it.
I tried to observe some flaws if there are any in it. The actress playing the daughter looked too old for the role. Stanwyck was 37 when this was made and Mc Murray was 36.
I agree with the reviewer who stated Mc Murray's later roles in TV sit coms and so forth tainted his image. It's true it was hard to take him seriously.
A new Cadillac driving around the rail road tracks might attract some notice especially in 1939 (the year this is supposed to take place).
Also you have to suspend disbelief that Mc Murray would be so smitten by Stanwyck he would attempt anything like this. She is not especially at 37 (or any age!) the most attractive woman in the world. The blond wig? I guess was supposed to make her look ?? maybe cheap or tainted. She can carry any role though plouging through it like a bulldozer.
But these are so minor. I loved the movie watch it and read the other reviews.
RECOMMEND HIGHLY
I tried to observe some flaws if there are any in it. The actress playing the daughter looked too old for the role. Stanwyck was 37 when this was made and Mc Murray was 36.
I agree with the reviewer who stated Mc Murray's later roles in TV sit coms and so forth tainted his image. It's true it was hard to take him seriously.
A new Cadillac driving around the rail road tracks might attract some notice especially in 1939 (the year this is supposed to take place).
Also you have to suspend disbelief that Mc Murray would be so smitten by Stanwyck he would attempt anything like this. She is not especially at 37 (or any age!) the most attractive woman in the world. The blond wig? I guess was supposed to make her look ?? maybe cheap or tainted. She can carry any role though plouging through it like a bulldozer.
But these are so minor. I loved the movie watch it and read the other reviews.
RECOMMEND HIGHLY
- filmalamosa
- Jan 15, 2013
- Permalink
One thing put me off this film almost from the start: I find it hard to believe that two strangers, no matter how attracted to each other, would agree to commit premeditated murder together. I certainly expected more knowing Raymond Chandler wrote the screenplay. Beyond this overwhelming plot flaw, I see why this move is on the IMDb Top 250 Best Movie list. The performances are excellent, with the highlight being Edward G. Robinson as Barton Keyes. But it's not one I'd recommend, unless you're a completionist like me, and it's on a list you're working your way through. It only has a small cast, but it's neither too many or too few characters.
Double Indemnity begins with a car speeding on a dark, rainy night. This begins the classic film noir plot. Billy Wilder directs a steamy and grabbing film. Billy Wilder pulls this film together with an awesome cast, perfect lighting and an amusing script. Fred MacMurray plays Walter Neff, an unsuspecting insurance salesman. He is unsuspecting in the sense that he is unaware of what the femme fatale' is going to put him up to. Barbara Stanwyck plays the femme fatale', Phyllis Dietrichson, a manipulative housewife who will stop at nothing to get what she wants.
The film begins in present day giving insight into Walter's current plight. Walter Neff gives the voice over as the plot unfolds. It starts in the present time allowing the audience to know what crime has happened without the interesting details to support it. This is an interesting twist to the common film noir plot. Knowing the crime at hand keeps the audience hungry for those details. Walter is the victim of the beautiful woman who manipulates him into pulling off a murderous insurance fraud scam. Walter is an impeccable insurance salesman and Phyllis, in some ways, forces him into providing her with what she needs. Phyllis is the typical femme fatale' who has no problem in using others to get what she wants.
Throughout the film Walter is completely enamored by Phyllis. Walter could have coined the pet name baby' with his fondness towards Phyllis by calling her that throughout the film. He is easily distracted by her beauty and evil charm. He seems to be entranced by Phyllis's ankle bracelet, so much that he mentions it numerous times. This allows the audience to feel the sexual tension between the two. Phyllis, on the other hand, shows the audience that she can use and abuse anyone who gets in her way. While believably attracted to Walter, Phyllis keeps him hopping to fulfill her needs. She pulls him in and handles him like a puppet. She is the epitome of the film noir genre's femme fatale'.
Barton Keyes, played by Edward G. Robinson, is Walter's co-worker and friend at the insurance company where he works. Barton closely investigates all insurance claims that come across his desk. While at one time Walter assuredly agreed with this practice, once Barton starts to unravel the mystery behind Mrs. Dietrichson's insurance claim, we begin to see just how nervous and paranoid Walter is. Walter then begins to see Phyllis in a whole new light. Barton plays the integral part by piecing together details that are thrown around throughout the film. This keeps the tension high for the filmgoer. These details are pieced together perfectly through to the end.
Double Indemnity has the perfect plot with the perfect cast. Walter and Phyllis' attraction are tasty and the crime is wonderfully puzzling. Double Indemnity is the true film noir giant.
The film begins in present day giving insight into Walter's current plight. Walter Neff gives the voice over as the plot unfolds. It starts in the present time allowing the audience to know what crime has happened without the interesting details to support it. This is an interesting twist to the common film noir plot. Knowing the crime at hand keeps the audience hungry for those details. Walter is the victim of the beautiful woman who manipulates him into pulling off a murderous insurance fraud scam. Walter is an impeccable insurance salesman and Phyllis, in some ways, forces him into providing her with what she needs. Phyllis is the typical femme fatale' who has no problem in using others to get what she wants.
Throughout the film Walter is completely enamored by Phyllis. Walter could have coined the pet name baby' with his fondness towards Phyllis by calling her that throughout the film. He is easily distracted by her beauty and evil charm. He seems to be entranced by Phyllis's ankle bracelet, so much that he mentions it numerous times. This allows the audience to feel the sexual tension between the two. Phyllis, on the other hand, shows the audience that she can use and abuse anyone who gets in her way. While believably attracted to Walter, Phyllis keeps him hopping to fulfill her needs. She pulls him in and handles him like a puppet. She is the epitome of the film noir genre's femme fatale'.
Barton Keyes, played by Edward G. Robinson, is Walter's co-worker and friend at the insurance company where he works. Barton closely investigates all insurance claims that come across his desk. While at one time Walter assuredly agreed with this practice, once Barton starts to unravel the mystery behind Mrs. Dietrichson's insurance claim, we begin to see just how nervous and paranoid Walter is. Walter then begins to see Phyllis in a whole new light. Barton plays the integral part by piecing together details that are thrown around throughout the film. This keeps the tension high for the filmgoer. These details are pieced together perfectly through to the end.
Double Indemnity has the perfect plot with the perfect cast. Walter and Phyllis' attraction are tasty and the crime is wonderfully puzzling. Double Indemnity is the true film noir giant.
- planktonrules
- Mar 28, 2006
- Permalink
Walter Neff arrives at the home of The Dietrichson family, to sell insurance, with the husband absent he gets acquainted with the wife, Phyllis, the pair converse, and hatch a plan.
I love the film noir genre, there were some superb offerings, there's a strong case for naming Double Indemnity as the best of the lot. Firstly the story itself, so wonderfully complex, loaded with twists and turns. Secondly the acting, so strong, Fred MacMurray and Barbara Stanwyck are superb as the film's leads. I particularly love the way that Walter narrates the story, an original format, getting it from his point of view.
First time viewers are in for a treat, and will have zero idea of what the conclusion will be. Even now it looks so slick, excellent production values throughout, quite simply this film is exceptional. 10/10.
I love the film noir genre, there were some superb offerings, there's a strong case for naming Double Indemnity as the best of the lot. Firstly the story itself, so wonderfully complex, loaded with twists and turns. Secondly the acting, so strong, Fred MacMurray and Barbara Stanwyck are superb as the film's leads. I particularly love the way that Walter narrates the story, an original format, getting it from his point of view.
First time viewers are in for a treat, and will have zero idea of what the conclusion will be. Even now it looks so slick, excellent production values throughout, quite simply this film is exceptional. 10/10.
- Sleepin_Dragon
- Oct 30, 2017
- Permalink
Billy Wilder had directed some wonderful movies, Some Like it Hot, Sunset Boulevard, Sabrina, The Apartment and Witness for the Prosecution are all fantastic. Double Indemnity is up there with his very best. Wilder directs impeccably, but his direction is not the only great thing about Double Indemnity. Everything is great about it, it is a timeless classic and defines the term quintessential film noir.
The cinematography is gorgeous with no rough edges or shaky moments, instead it is all fluid and beautiful, and the costumes, sets and scenery also help. Also superb are Miklos Rozsa's wonderfully atmospheric score, the compelling story which sizzles with romance and sexual tension and the truly crackling screenplay.
The acting also is impressive. Fred MacMurray overplays slightly, but this is one of the cases when overplaying works, because he is still witty and charming as well. Barbara Stanwyck I think is sexy, her character appeals and her dialogue is so good as is her delivery of it, while Edward G.Robinson gives a superb supporting performance.
All in all, a stunning film and one of the very best of the genre. 10/10 Bethany Cox
The cinematography is gorgeous with no rough edges or shaky moments, instead it is all fluid and beautiful, and the costumes, sets and scenery also help. Also superb are Miklos Rozsa's wonderfully atmospheric score, the compelling story which sizzles with romance and sexual tension and the truly crackling screenplay.
The acting also is impressive. Fred MacMurray overplays slightly, but this is one of the cases when overplaying works, because he is still witty and charming as well. Barbara Stanwyck I think is sexy, her character appeals and her dialogue is so good as is her delivery of it, while Edward G.Robinson gives a superb supporting performance.
All in all, a stunning film and one of the very best of the genre. 10/10 Bethany Cox
- TheLittleSongbird
- Feb 28, 2011
- Permalink
- FilmFanatic09
- Dec 1, 2006
- Permalink
What many call the ultimate film noir, the murder mystery that is spoiled at the start, setting the stage for a retelling by our protagonist of the perfect crime, is unraveled before our eyes. Billy Wilder's Double Indemnity revolves around an insurance fraud murder that appears foolproof until the seams start to tear. Walter Neff, the top salesman two months in a row, falls in love with the young wife of an oilman, a woman looking for a way to leave her troubled marriage. Who better to get away with the perfect crime then a man that sees false claims avenged everyday? Their tracks must be covered and their guilt assuaged. However, being as our first scene shows Walter confessing to everything, we know the well-laid plans were unsuccessful. The trick to the film becomes how it all went down, how the puzzle pieces fell into place, and the power of a conscience, eating away at you until you can't stand the pressure any longer.
It is not giving away anything to say that the two complete the task of killing Mr. Dietrichson, a businessman with a temper. The deed is orchestrated to look like he fell off a train, a venue for accidental death that comes with a special double indemnity clause, one that pays twice the cost of his recently purchased insurance of $50,000. That money is the impetus that pushes Neff over the top to help his new mistress. Phyllis Dietrichson is the damsel in distress, the nurse of her husband's first wife that was naïve and heartbroken for her boss after his loss. She says it compelled her to stay with him in a union that never held any love. The chance arrival of Neff not only opens her eyes to the possibility of a clean break without any strings and actually some cash to boot, but also to a man she can spend time and possibly settle down with. It is a strange coincidence that the Dietrichson's auto insurance was allowed to lapse, creating a house call, and a happy accident that the man called to visit was one as immoral as Walter. Right from the start he flirts and makes advances towards the woman he knows is married to his client. It's not until the end that you start to consider whether none of it was by chance at all, but instead carefully planned out and manipulated from the first second.
Neff is played by Fred MacMurraya perfect fit for the role of a shady salesman, unafraid to get his hands dirty. The confidence and swagger allow us to believe he can win over the girl as easily as he does. He is the kind of guy that can fool the world into thinking he is on the level, a man of intelligence and pride. His boss, Barton Keyes and he have a very close relationship, one based on mutual respect and admiration. Neff has them all fooled into believing he is a man of character, one Keyes would personally vouch for, and his initial balk at the offer to help kill Dietrichson shows that maybe he is. Maybe there is some semblance of humanity behind the quick-witted banter and devious smile, a moral compass that won't allow him to cross the line. But greed and lust can tempt even a saint, let alone a guy like Neff, and it doesn't take long for him to begin the blueprints for what will be the perfect crime; one that not even Keyes and his keen lie detector can spot. It is that question of virtue that will ultimately undo him, though, as the strong stomach he thought he had might not be indestructible.
The story revolves around MacMurray and as a result he is on screen almost the entire time. He is our narrator and our entrance point into the proceedings. However, it is not a role that we necessarily relate to, nor even begin to feel sorry for to hope he gets away with the crime. Instead, knowing about his confession from the beginning, we sit down to watch his hubris shred his world to pieces. Each person is a cog to the tale at hand; it is the plotting of the film that takes center stage and top billing. The pieces are moved and we follow them through the twists and turns and revelations that change our preconceptions of each. No one is truly as they seem and they all have an ulterior motive just below the surface, propelling their actions and attempts for survival whether the other does or not. Our two criminals are selfish at heart, but until you watch the entire journey, you won't know just how much.
While the acting is definitely dated and a product of its time, it doesn't mean that it's not good. Barbara Stanwyck plays MacMurray's partner-in-crime Phyllis with equal panache. She holds her own in every situation, whether with her sharp tongue in some very funny back and forths or in her steely disposition when things get rough, it's a part that needs to be strong and is. Barton Keyes is the role that sticks with you, though. Edward G. Robinson is fantastic as the cocky claims agent, self-proclaimed as never being wrong when his gut says something isn't right. He delivers some of the best lines with such deadpan seriousness that you laugh even harder. The ego, cynicism, and attitude all add up to a man you have to respect, because under the tough exterior lies a man with heart. His dynamic with MacMurray is an interesting one, especially when seen through to the end. While they aren't completely fleshed out, each character is a detailed piece to the intricate web of deceit on display. Surrogates for the story to be shown to the audience, we watch them not for who they are, but for what they will do.
It is not giving away anything to say that the two complete the task of killing Mr. Dietrichson, a businessman with a temper. The deed is orchestrated to look like he fell off a train, a venue for accidental death that comes with a special double indemnity clause, one that pays twice the cost of his recently purchased insurance of $50,000. That money is the impetus that pushes Neff over the top to help his new mistress. Phyllis Dietrichson is the damsel in distress, the nurse of her husband's first wife that was naïve and heartbroken for her boss after his loss. She says it compelled her to stay with him in a union that never held any love. The chance arrival of Neff not only opens her eyes to the possibility of a clean break without any strings and actually some cash to boot, but also to a man she can spend time and possibly settle down with. It is a strange coincidence that the Dietrichson's auto insurance was allowed to lapse, creating a house call, and a happy accident that the man called to visit was one as immoral as Walter. Right from the start he flirts and makes advances towards the woman he knows is married to his client. It's not until the end that you start to consider whether none of it was by chance at all, but instead carefully planned out and manipulated from the first second.
Neff is played by Fred MacMurraya perfect fit for the role of a shady salesman, unafraid to get his hands dirty. The confidence and swagger allow us to believe he can win over the girl as easily as he does. He is the kind of guy that can fool the world into thinking he is on the level, a man of intelligence and pride. His boss, Barton Keyes and he have a very close relationship, one based on mutual respect and admiration. Neff has them all fooled into believing he is a man of character, one Keyes would personally vouch for, and his initial balk at the offer to help kill Dietrichson shows that maybe he is. Maybe there is some semblance of humanity behind the quick-witted banter and devious smile, a moral compass that won't allow him to cross the line. But greed and lust can tempt even a saint, let alone a guy like Neff, and it doesn't take long for him to begin the blueprints for what will be the perfect crime; one that not even Keyes and his keen lie detector can spot. It is that question of virtue that will ultimately undo him, though, as the strong stomach he thought he had might not be indestructible.
The story revolves around MacMurray and as a result he is on screen almost the entire time. He is our narrator and our entrance point into the proceedings. However, it is not a role that we necessarily relate to, nor even begin to feel sorry for to hope he gets away with the crime. Instead, knowing about his confession from the beginning, we sit down to watch his hubris shred his world to pieces. Each person is a cog to the tale at hand; it is the plotting of the film that takes center stage and top billing. The pieces are moved and we follow them through the twists and turns and revelations that change our preconceptions of each. No one is truly as they seem and they all have an ulterior motive just below the surface, propelling their actions and attempts for survival whether the other does or not. Our two criminals are selfish at heart, but until you watch the entire journey, you won't know just how much.
While the acting is definitely dated and a product of its time, it doesn't mean that it's not good. Barbara Stanwyck plays MacMurray's partner-in-crime Phyllis with equal panache. She holds her own in every situation, whether with her sharp tongue in some very funny back and forths or in her steely disposition when things get rough, it's a part that needs to be strong and is. Barton Keyes is the role that sticks with you, though. Edward G. Robinson is fantastic as the cocky claims agent, self-proclaimed as never being wrong when his gut says something isn't right. He delivers some of the best lines with such deadpan seriousness that you laugh even harder. The ego, cynicism, and attitude all add up to a man you have to respect, because under the tough exterior lies a man with heart. His dynamic with MacMurray is an interesting one, especially when seen through to the end. While they aren't completely fleshed out, each character is a detailed piece to the intricate web of deceit on display. Surrogates for the story to be shown to the audience, we watch them not for who they are, but for what they will do.
- jaredmobarak
- Sep 29, 2008
- Permalink
It was interesting watching this movie having already seen so many movies that clearly used this as source material. The fast talking, witty dialogue, woman with a money making scheme, and the use of romance/feminine wiles to achieve those means are all things that became the cornerstone of film noir. It's easy to see why this movie had such an impact given how perfectly each was executed. It was interesting to watch their so called perfect scheme unfurl bit by bit, especially in regards to how the characters reacted to this.
The only thing that I wish is that I had gotten a little more invested in the romance and the characters themselves. Some later film noir films really nailed making me care about the plot through the eyes of the characters, which is my favorite approach to film. That is just my personal preferences though, and setting that aside, this was an incredibly well constructed film.
The only thing that I wish is that I had gotten a little more invested in the romance and the characters themselves. Some later film noir films really nailed making me care about the plot through the eyes of the characters, which is my favorite approach to film. That is just my personal preferences though, and setting that aside, this was an incredibly well constructed film.
- MovieMusings
- Jul 3, 2004
- Permalink
- ShootingShark
- Feb 15, 2007
- Permalink
First in the series of late 40s sap noir (Out-of-the-Past 47 The-Postman-Always-Rings-Twice 46 The-Killers 46), a tag inspired by Maltese Falconer Sam Spade who refused to "play" one. Not so much dark as brown around the edges criminal melodrama, sap-noir begins to drip when a male in lead (MacMurray) falls under the spell of a designing dame (Stanwyck) who hatches a scheme that's doomed from the get-go, one the cluckhead just can't resist and then it's only a matter of time until the bloodhound in residence (Robinson) figures their game and the malefactors both end up eating a bullet or getting the electric chair. Seemingly normal men who work in a professional capacity do not throw it all over, i.e., commit pre-meditated murder, because of "a little bit of money (Margie)" and a dame with a dye-job and nice pair of gams, especially when he knows the designer might some day do the same thing to him. There must be a foundation, a basis for belief in eachother to invite serious risk taking (See also; Bonnie-And-Clyde 67 Gun-Crazy 50), something entirely lacking in Double.
The story is predictable, dialogue pulpy and actors faces all as familiar as the Studio's moralizing message, 'Crime never pays!,' yet, with Wilder directing and Barbara the fatale, even as she looks more ridiculous than devious, its cult status is strong. Billy mastered the dram-com (Stalag Sunset Some), not so the straight drama where his darkness devolves into depressing (Ace-in-the-Hole Lost-Weekend). Jean Peters or Beverly Michaels (Pickup) might've made this Cain work more credible as tawdry temptress just wasn't in Stany's wheelhouse. I wouldn't give it the time, but if you like classic celebrity and following trends, this might be the parade you're looking for (2/4).
The story is predictable, dialogue pulpy and actors faces all as familiar as the Studio's moralizing message, 'Crime never pays!,' yet, with Wilder directing and Barbara the fatale, even as she looks more ridiculous than devious, its cult status is strong. Billy mastered the dram-com (Stalag Sunset Some), not so the straight drama where his darkness devolves into depressing (Ace-in-the-Hole Lost-Weekend). Jean Peters or Beverly Michaels (Pickup) might've made this Cain work more credible as tawdry temptress just wasn't in Stany's wheelhouse. I wouldn't give it the time, but if you like classic celebrity and following trends, this might be the parade you're looking for (2/4).
- StevenKeys
- Sep 5, 2021
- Permalink