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DVD Double Indemnity (Universal Legacy Series)
Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown
Review(s): DVD Double Indemnity (Universal Legacy Series)
"How could I have known murder can sometimes smell like honeysuckle?"
Perhaps the greatest flim noir ever made, "Double Indemnity" succeeds like no other for it is a movie where everything--from casting to the technical brilliance of Wilder's direction--works magnificently. We all know the plot: Walter Neff (MacMurray) is the insurance man who falls for the seductive charms of lovely client Phyllis Dietrichson (Stanwyck, in her finest role) and plots to kill her husband and "collect" on his insurance policy.
The film is a textbook case of successfully casting a star "against type"--MacMurray at the time had primarily worked in musical comedies and was rather reluctant to assume the role of Neff; likewise for Stanwyck who typically played positive, strong females, thought the character of Phyllis would typecast her negatively.
Edward G. Robinson, in a supporting role, is absolutely superb as Barton Keyes--Neff's colleague who uncovers the couple's crime. Robinson middle-aged, and like MacMurray and Stanwyck, had to be convinced to take on a supporting role--he had always received top billing since "Little Caesar" made in the 30's, should have received an Oscar for his portrayal as the dogged claims investigator. The following year, Eddie G. would receive star billing opposite Orson Welles in "The Stranger" a well-acted and highly enjoyable noir thiller directed by Welles, but seemingly panned by most critics.
Those who are observing the film closely should note how effectively Wilder orchestrates the use of shadow and light and dark; for example, in the Dietrichson home and in Keyes' office, effectively lending an aura of entrapment for the protagonist, Neff. Other remarkable touches are abound in this cinematically rich film.
The snappy dialogue, courtesy of Raymond Chandler, who collaborated with Wilder on the script (the two actually hated each other) based on the James Cain novel, is an improvement on the book as is the story told in flashback by the dying protagonist helps amplify the personal relationship between Keyes and Neff to the film's advantage. Here the central character becomes his own narrator relaying a confession, much like Joe Gillis (William Holden) in "Sunset Boulevard" (1950).
This set is presented full-frame, nicely restored, and includes a rather laughable 1973 made-for-TV movie based on the original film. Yes, it is really that bad, save for maybe Lee J. Cobb in Robinson's role. One should ask, why was this remake necessary? (I did recognize that the beautiful Spanish-style home used in this TV movie was the setting for the superb "Columbo" epsisode, "Identity Crisis" starring Patrick McGoohan!)
Other extra features include "Shadows of Suspense" a look into 1940's noir--a rather pedestrian examination into noir and the film itself, and feature commentaries with Richard Schickel (ho hum)and Lem Dobbs (screenwriter) and film historian Nick Redman. Personally, I prefer the commentaries from Fox's Noir collection featuring James Ursini and Eddie Muller (author of "Dark City") as far more informative and entertaining.
A genre-defining film and a high water mark for Billy Wilder
Universal's new "Legacy Series" edition of DOUBLE INDEMNITY has now been stretched to two DVDs, one of which is indispensible, the second simply dispensible. The first disc is outstanding, containing the classic that defined what the Film Noir genre would become, as well as TWO separate commentary tracks (the first is by film critic Richard Schickel, the second by film historians Lem Dobbs and Nick Redman. Both are excellent). There is also the original trailer for the film, and a documentary on the genre and on DOUBLE INDEMNITY in particular called "Shadows of Suspense". On the second DVD is the 1973 television remake with Richard Crenna, Lee J. Cobb, Robert Webber and Samantha Eggar, teleplay by Stephen Bochco and directed by Jack Smight. It ain't bad, but it ain't Billy Wilder.
As for the original DOUBLE INDEMNITY, tough dialogue, triple-crossing protagonists, a plot that turns in on itself again and again, masterful direction, deep shadow cinematography by John F. Seitz, and a wonderful score by the great Miklos Rosza all come together to create a perfect film. Barbara Stanwyck is the poison flower attracting Fred MacMurray to murder. MacMurray, cast against type, got to show just how tough a dramatic actor he could be. Edward G. Robinson, taking his first supporting role after years of top billing, knew that Barton Keyes, MacMurray's boss and a crack insurance adjuster, was a great part. And director Billy Wilder and writer Raymond Chandler created a screenplay from James M. Cain's novel that is spare, muscular, and moves like lightning.
A great, great film, one of the best. Buy it, rent it, but make sure you see the original DOUBLE INDEMNITY, baby.
A Classic Movie of All Time
This is the best movie, the movie has everything murder, twists, great acting.Barbara Stanwyck plays her best roll ever, so does Fred McMurray,great extra features also GET IT !!!Worth Every Cent
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