Double Indemnity (1944)

Double Indemnity (1944), hailed by many for the excellent film noir it uses, is the film that almost was. Nominated for many Oscars, including Best Picture, and loosing in every category, Double Indemnity is the 'best failed' film to have ever reached the silver screen. Director Billy Wilder started off his career in Berlin (which explains the constant use of film noir; see M), but then left Germany when Hitler rose to power (similar to that of his roommate, Peter Lorre; once again, see M). While the constant use of banter is quite annoying, the film eventually leads beyond that, and becomes an enjoyable classic.

The entire film is the confession of Walter Neff (Fred MacMurray), of how and why he killed. Of course, the mystery of 'whodunit' is eliminated, and is replaced by "howandwhyhedunit" (a term coined by my film teacher). After Walter Neff visits Phyllis Dietrichson (Barbara Stanwyck), the femme fatale of the film, the two of them fall 'in love' and plan to kill Phyllis' husband. As Walter is an insurance salesman, he arranges it so that the death of Mr. Dietrichson can be categorized under double indemnity, in which Phyllis receives double the amount of money. However, with any evil plot, everything messes up, and disaster lurks into Neff's life.

One of the interesting things about this film lies in the character of the hero . . . of which there is none. In a similar fashion to Hayao Miyazaki, the film is filled with people who have good and evil intentions; however none of them can be classified under 'hero' or 'villain'. (Miyazaki's films never have villains in them.) The only one who is close to the title of hero, is Neff's boss: Barton Keyes (Edward G. Robinson). Probably the only one in the film with good intentions, Keyes just misses the title of hero. When Keyes starts to suspect Neff, but instantly turns him down as a suspect for his close relation. If Keyes was a true hero, he would have investigated it, and, upon finding the truth, helped Neff redeem himself. Unfortunately, by the time Keyes finds out, it is too late.

Double Indemnity is an enjoyable film that has many themes discussed in it. The main one, as stated above, is that of heroes and villains. Since most 'classic' films are black and white (not only in color, but in the values) and contain no in-between emotions, it is curious to see a film such as this to succeed. As many audiences like to see a hero win and a villain fall, Double Indemnity does not fulfill this request. This film meshes many emotions into one, making the audience feel sorry for the main character, the villain. This is one of the reasons Double Indemnity has become a classic.

Quite an enjoyable film, Billy Wilder's Double Indemnity has become a classic. While the banter is bad enough to scare anyone away, the plot and acting is what shines in this 1944 film. This American film has, possibly, the best film noir of it's time. From windows casting low key lighting, to mind-bogglingly high windows, the use of light creates a very murderous feel to the film, and a very appropriate mood to match it.