Honestly, I've seen Double Indemnity at least a dozen times, and it just gets better every time I watch it. Mouthing along as the movie goes -- "they'll hang ya' baby, hang ya' as fast as ten dimes will buy ya' a dollar -- and I don't want ya' to hang,"-- still wrapped up in suspense when she honks on the horn, heart beating faster as the car fails to start, even feeling that same tingle in my spine when he collapses at the end of the movie; Double Indemnity is a noir classic that seems to never loose its punctuality.
I think it's maybe the cinematic techniques, the brilliant contrast between beginning and end, between night and day. The lines from the blinds like bars in a prison, the shadows in Walter's apartment that he slinks into before opening the door, and Phylis is there. And the dialogue, "I think you're rotten! -- I think you're swell, as long as I'm not your husband," Walter's voice overs, "I tried to get it out of my mind but I couldn't, I was still thinking about her, about that anklet." Or the acting, like the slight changes in Stanwyck's face when Neff murders her husband or all of Eddy G's mannerisms, the cigars, the diction, the little man. And his immortal lines and speeches, yammering on about insurance and murder with such style and speed as only he could deliver.
Or maybe it's all of these things, the combination of the acting, writing, directing, setting and thousands of other considerations that go into producing a film that make Double Indemnity the legend it is today. I noticed in one of the books that was passed around the class, a correspondence replying to someone that believed the film would flop, because you can't have any suspense after you've committed the murder. The letter is written about five years later, 1949 I believe, and begins by matter-of-factly pointing out that the person was wrong, because not only was the movie a success, it set the conventions for how most noir films would be framed and written. And I think that is why this movie is such a personal favorite, why it's well known, with positive reviews. And why, for me, I will always love Double Indemnity.
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I like the blog! I think you wrapped it up nicely... though I don't have your experience with this film, or others that you mentioned in your presentation, it was the little nuances and, I think, the acting that really made this film pop. The facial expressions and fast delivery of complex lines... brilliant.
ReplyDeleteYou brought up many good points. I also felt for the characters during the film, especially when the car would not start. Even though they had just killed a man, I was still hoping their car would start up. There are a few people in the class that have seen these movies before, and I wonder how they came across these films. Although I don't think this will become one of my favorite movies, I can see how others would like it.
ReplyDeleteI agree that the dialogue and the delivery of said dialogue is a huge part of what makes the film such a good noir classic. Something about the fast-paced delivery paired with the sharp wit of the characters, as well as the actors behind those characters, really made the movie.
ReplyDeleteI completely agree and I find the fact that they thought it would be a flop extremely interesting. I personally prefer movies that go backwards after the crime is committed because it has a different kind a suspense and to me is more interesting to watch; and its funny to me that they thought it wouldn't be suspenseful and wouldn't be a successful movie when that is exactly what it did accomplish.
ReplyDeleteI can only say an enthusiastic "yes" to all these points, Walter. This movie is brilliant and it never gets old.
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