I first fell in love with Film Noir when studying the subject a few years back. I was immediately drawn to the dark corners, dark characters and dark plots. This is likely to be the first of many blogs on the subject as some of my favourite films fall within the genre.
The first Noir I was shown was Billy Wilder’s 1944 classic Double Indemnity; starring Fred McMurray as Walter Neff and Barbara Stanwyck as Phyllis Dietrichson. Based on a James M. Cain novel of the same title, Double Indemnity sees naïve insurance salesman Neff captivated by the feminine charms of the archetypal femme fatale.
The films title refers to the insurance policy that this dastardly duo intend on cashing in the unfortunate, and avoidable, death of her husband. We are told the story through Neff’s narration, or confession if you prefer. Immediately we know that something is amiss, the tone of the film sets that right away. The initial shot of a man on crutches sums up what it precedes; except his injuries are as mental as they are physical. His approach towards the camera takes us directly into his heart and we stay there throughout. The film begins with Neff’s confession to murder.
How could I have known that murder can sometimes smell like honeysuckle?
Dietrichson is introduced to us in a state of undress, particularly for the time, but we are never led to assume that she is in any way vulnerable. Not intimidated by the presence of the male stranger in her living room. Flippant at first, Dietrichson’s attention is clearly drawn to the insurance policies available and far less by Neff’s attempts to charm the ‘dame’.
On Neff’s second visit to the Dietrichson residence he quickly understands Phyllis’ intention and makes the hastiest of exits. However it doesn’t take Neff long to realise that he has fallen into the hooks of the plot and declares his craziness for his baby; sucked in further by her hard luck story. How could we deny a beaten woman what is surely her due? Especially when she has awoken something inside Neff; a thought brewing for some time. Are the stakes worth the risk? In Film Noir… absolutely.
I couldn't hear my own footsteps. It was the walk of a dead man.
Edward G. Robinson’s turn as Barton Keyes is excellent as the claims manager rebuffing false insurance with his fast chat and direct action. Hard boiled personified. Keyes is the first to suspect all may not be as it seems with Dietrichson’s claim but fails to pin Neff to the case. Keyes and Neff have an almost father and son like relationship and you if Keyes knew all along, he didn’t want to believe. Keyes breaks down the events exactly prompted by a chronic case of indigestion but makes the mistake of going as far as to vouch for Neff and the character of his friend.
The look on Walter’s face when he is told that Phyllis was one of three people in the room when the her predecessor began her climb to heaven is one of pure desolation. The first time the clog of betrayal begins to turn. Within moments Neff is spending time with the step daughter Lola further confusing his intentions and feelings, before attempting to back out and convince Phyllis to withdraw the claim. Love quickly becomes loved.
The relationships brewing are more multifarious than we initially imagined with Neff and Mr. Dietrichson’s daughter; Phyllis and the daughters boyfriend. It all adds to the seedy tone of undertakings. There is no redemption for the souls of the Noir protagonist and Double Indemnity is no different. We knew Neff was doomed from the outset but everyone is doomed by the close. As much lurks in the shadows of the Noir as it does in the light. The German expressionist influence sometimes accidentally achieved by the low budget is the hallmark of the Noir landscape.
For me, Double Indemnity is the quintessential Film Noir and the starting point for anyone new to the genre. All the elements that would become recognised as the staples of the genre are apparent. Double Indemnity gained more Academy Award nominations than any other Noir… it didn’t win but the anti-hero rarely does. There little to be assumed in Double Indemnity, no mystery and no morals.
I’m afraid of us… We’re not the same anymore
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