Double Indemnity (1944)

Directed by: Billy Wilder | 107 minutes | crime, thriller | Actors: Fred MacMurray, Barbara Stanwyck, Edward G. Robinson, Porter Hall, Jean Heather, Tom Powers, Byron Barr, Richard Gaines, Fortunio Bonanova, John Philliber

Spanish filmmaker Fernando Trueba, after receiving the 1993 Oscar for Best Foreign Language Film for ‘Belle Epoque’, said: “I would like to believe in God so that I could thank him now. But I only believe in Billy Wilder, so… Thank you Mr. Wilder.” According to Trueba, Wilder called him a day later and said to him, “Fernando, you are speaking to God.” This anecdote illustrates the great sense of humor of the legendary Austrian-born director. Wilder made a series of unparalleled classics with films such as ‘Some Like it Hot’, ‘Sunset Boulevard’, ‘The Apartment’ and ‘Double Indemnity’. When looking at his oeuvre, there is no doubt that he is one of the best directors and screenwriters of all time. He made a leading film in every genre. For example, ‘Double Indemnity’ – only the third film he has directed – is one of the most important films of noir.

During a routine visit to a client, insurance agent Walter Neff (Fred MacMurray) is confronted by the irresistible lady of the house, Phyllis Dietrichson (Barbara Stanwyck). She immediately wins him over and when she asks him, quasi-nonchalantly, if he also sells life insurance, it becomes clear that we are dealing with a real femme fatale. Neff, so impressed by the sexy Phyllis and thus hopelessly lost, lets herself be taken over by her and before he realizes what is going on he has Mr. Dietrichson sold a life insurance policy – ​​with double payment for accidental death. Together, the lovers then hatch a plan to kill Dietrichson. Everything seems to be going according to plan, but Neff’s colleague and friend, insurance expert Barton Keyes (Edward G. Robinson) soon senses danger.

Wilder co-wrote “Double Indemnity” with Raymond Chandler, based on the book “Three of a Kind” by pulp novelist James M. Cain. They larded the story with razor-sharp, often cynical dialogues and ambiguous witticisms. In addition, the narrative structure was turned upside down: the film starts at the end, with Neff telling Keyes what happened via a dictaphone. This voiceover worked so well that Wilder reused the same structure a few years later in “Sunset Boulevard.” ‘Double Indemnity’ is seen by many as one of the ultimate film noirs. That’s not because the story is so special, but more because of the overall atmosphere it evokes. Especially the play with light and dark and the long, ominous shadows that are captured in almost every frame were – certainly for that time – unique. The immoral actions of the lust-dazzled characters in smoky spaces, with the brooding city in the background – ‘Double Indemnity’ set the tone for many films to come.

In addition, the acting is very strong. Wilder initially had great difficulty finding a suitable protagonist. Finally, after much deliberation, Fred MacMurray accepted the role. Previously known only for meaningless comedic roles, the actor once claimed that his films with Wilder (this one and ‘The Apartment’) are the only ones in which he actually had to act. MacMurray is portrayed as the somewhat arrogant and bored-looking Neff who is seduced by lust into a serious crime. Barbara Stanwyck, like the cold Phyllis Dietrichson, is the mother of all femmes fatales. She is the cunning herself, manipulating and seducing her way to big money and literally passing over corpses. Stanwyck initially feared that the role of a ruthless killer would damage her reputation, but nothing came of it. She was even nominated for an Oscar for her portrayal of Phyllis. To top it off, there’s the legendary character actor Edward G. Robinson, who for once doesn’t play a gangster, but instead plays the conscience of the film as the bold Keyes. He steals every scene he plays in, thanks to his unique appearance and boundless energy. Absolutely a joy to watch.

‘Double Indemnity’ was nominated for no fewer than seven Oscars, including best picture and best screenplay. However, none of the nominations were cashed in. The film was probably released at the wrong time; In the war year 1944, the votes went to the long-forgotten feel-good movie ‘Going My Way’ instead of to Wilder’s cynical, dark and daring film noir. They preferred to see heroes as real heroes and not as wimps who are seduced by sex and money. Years later, people have come to realize that Wilder has done groundbreaking work with this film – as he often did – and that ‘Double Indemnity’ is an absolute masterpiece. A must for every movie buff!