double identity movie 1944
"[47], Wilder managed to bring the whole production in under budget at $927,262 despite $370,000 in salaries for just four people ($100,000 each for MacMurray, Stanwyck, and Robinson, and $70,000 – $44,000 for writing and $26,000 for directing – for himself). Barbara Stanwyck changed the trajectory of her career with her ruthless, icy performance here. A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue. Okay?" Wilder, however, stuck it out, admiring Chandler's gift with words and knowing that his dialogue would translate very well to the screen.[6]. His first choice, James M. Cain himself, was working for another studio and unavailable (although Cain claimed he never was asked). [61], Radio host and Hearst paper columnist Louella Parsons said "Double Indemnity is the finest picture of its kind ever made, and I make that flat statement without any fear of getting indigestion later from eating my words. This was his vision of the film, and because it wasn't part of the story, Raft turned the part down. This relationship with Chandler is what drew Wilder to his next project, the Best Picture-winning The Lost Weekend, about an alcoholic writer. It is not the voice of a dead man ... it is ... the voice of an already doomed man. Keyes arrives unnoticed and hears the truth. To Wilder's astonishment, Chandler was right, and in the end, the movie's cynical and provocative dialogue was more Chandler and Wilder than it was Cain. [21] Offended, Wilder responded by saying: "We didn't invite him? [34] Removal of the scene, over Chandler's objection,[33] removed Production Code head Joseph Breen's single biggest remaining objection to the picture that regarded it as "unduly gruesome" and predicted that it never would be approved by local and regional censor boards. [27] Wilder recalls "scraping the bottom of the barrel" and approaching George Raft. Double Indemnity 1944. [54], Other locations around Los Angeles used in the film were an apartment building at 1825 N. Kingsley Drive in Hollywood where Walter Neff lived and the building on the southwest corner of Hollywood Blvd. Double Indemnity - Asigurare de moarte. Ebert praised director Wilder and cinematographer Seitz. [33], Edward G. Robinson was also reluctant to sign on for the role of Barton Keyes, but not for the same reasons as MacMurray and Stanwyck. In 1938, Walter Neff, an experienced salesman of the Pacific All Risk Insurance Co., meets the seductive wife of one of his clients, Phyllis Dietrichson, and they have an affair. Praised by many critics when first released, Double Indemnity was nominated for seven Academy Awards but did not win any. station, bearing signs that read Glendale. Double Indemnity has a hard edge, not least because Cain based it on a real-life murder committed by Ruth Snyder in the 1920s. Here, Pereira is said to have copied an existing office: the corporate headquarters of Paramount Pictures in New York City. Double Indemnity is a 1943 crime novel by American journalist-turned-novelist James M. Cain.It was first published in serial form in Liberty magazine in 1936 and later republished as one of "three long short tales" in the collection Three of a Kind. [6] (Her eventual co-star MacMurray matched Stanwyck's prominence at the pay window: in 1943, he was the highest-paid actor in Hollywood, and the fourth highest-paid American. Double Indemnity (1944) Full Movie. Double indemnity may also refer to: Double Indemnity, a 1944 American film noir; Double Indemnity, a 1973 film directed by Jack Smight; Double Indemnity, a 1943 crime novel "Double Indemnity", a short story by … In the classic black and white aesthetic, it goes further and turns up the darkness. Plot. [32] MacMurray made a great heel and his performance demonstrated new breadths of his acting talent. The film stars Fred MacMurray as an insurance salesman, Barbara Stanwyck as a provocative housewife who wishes her husband were dead, and Edward G. Robinson as a claims adjuster whose job is to find phony claims. [6] The contrast was heightened, in Wilder's words, by "dirtying up" the sets. But as Wilder got into his own car to leave, it wouldn't start. The property was regarded around Hollywood as unfilmable because of its iniquitous characters and the restrictions imposed by the Motion Picture Production Code. The Glendale station remains, however, and can now be seen as part of the Glendale Transportation Center and was added to the National Register of Historic Places on May 2, 1997. Drama, Certificate: Passed Indeed, the ad averred, the words Since You Went Away had become "the four most important words uttered in motion picture history since Gone with the Wind. Chandler was new to Hollywood, but saw it as a golden opportunity. He and his son set out to find it. [73], Double Indemnity was adapted as a radio play on two broadcasts of The Screen Guild Theater, first on March 5, 1945 with Fred MacMurray and Barbara Stanwyck, then five years later on February 16, 1950 with Stanwyck and Robert Taylor. [46] MacMurray was surprised when he first saw it onscreen: "When I ... turned the key I remember I was doing it fast and Billy kept saying 'Make it longer, make it longer,' and finally I yelled 'For Chrissake Billy, it's not going to hold that long,' and he said 'Make it longer,' and he was right. Neff meets the alluring Phyllis Dietrichson during a house call to remind her husband to renew his automobile insurance policy. By this time, Lipstone had an arm around DeSylva, asking unctuously "I always find you the right guy for the job, Buddy, don't I? The way Billy staged it and John Seitz lit it, it was all one sensational mood. "[18] His tugging with Chandler did have a softer side, it seems: Over 60 years after the film's initial release, mystery writer and Chandler scholar Mark Coggins documented the fact that Chandler had agreed to appear in a cameo at 16 minutes into the film, glancing up from a magazine as Neff walks past outside Keyes' office. He guesses she is planning for Nino to kill him, but tells her that he intends to kill her and put the blame on Nino. [24] It took skillful performers to bring nuance to these treacherous characters, and casting the roles of Walter Neff and Phyllis Dietrichson was a challenge for Wilder. Based on the James M. Cain novella of the same name, it’s all about a woman who kills her husband for the insurance money. A New York City advertising executive goes on the run after being mistaken for a government agent by a group of foreign spies. When Mr. Dietrichson is found dead on a train track, the police accept the determination of accidental death. Paramount executive Joseph Sistrom thought the material was perfect for Wilder, and the studio bought the rights for $15,000. And I said "Well, I hope I'm an actress." The screenplay for the film was written by Graham Greene. Written by That station no longer exists, and the Burbank Metrolink station now stands on the site. What classic movies might tell us about post-Covid Hollywood, best cinematography (black) (nominations), Jumanji Me Into a Classic Film Noir Movie, American Film Institute's Top 35 Villains of All Time, Smashing UK Top 10: Top 10 Film Directors. A lesson was indeed taught, but not the one Paramount had in mind. Phyllis proposes to kill her husband to receive the proceeds of an accident insurance policy and Walter devises a scheme to receive twice the amount based on a double indemnity clause. In 1938, Walter Neff, an experienced salesman of the Pacific All Risk Insurance Co., meets the seductive wife of one of his clients, Phyllis Dietrichson, and they have an affair. She says she never loved him "until a minute ago, when I couldn't fire that second shot." Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime. [39] "He was ready for anything", Wilder said. David O. Selznick, no stranger to self-aggrandizement, frequently sought to put a high-culture gloss on his pictures with "trade-book" ads. Lola's mother also died under suspicious circumstances when Phyllis was her nurse. This shrewd, smoothly tawdry thriller, directed by Billy Wilder, is one of the high points of nineteen-forties films. "What lapel bit?" Her advertisement probably put a million dollars on its gross. The victim's daughter, Lola, tells Neff she is convinced that her stepmother Phyllis is behind her father's death. For example, he hung around Jerry's Market on Melrose Avenue in preparation for the scene during which Phyllis and Walter discreetly meet to plan the murder. This film has the perfect cast, with characters who are very believable in their respective roles. American Film Institute included the film on these lists: The Writers Guild of America ranked the film's screenplay the 26th greatest ever. A veteran British barrister must defend his client in a murder trial that has surprise after surprise. ", building on the southwest corner of Hollywood Blvd. The screenplay was based on James M. Cain's 1943 novella of the same name, which originally appeared as an eight-part serial in Liberty magazine, beginning in February 1936. And I did and I'm very grateful to him. "Fred MacMurray Is Dead at 83; Versatile Film and Television Star. There are no TV Airings of Double Indemnity in the next 14 days. [74] It was adapted to the October 15, 1948 broadcast of the Ford Theatre with Burt Lancaster and Joan Bennett[75] and the October 30, 1950 broadcast of Lux Radio Theater with MacMurray and Stanwyck.[76]. "I never dreamed it would be the best picture I ever made," he said. The narrative structure in both films begins and ends in the present, but the bulk of the plot is told in flashback narrated by their protagonists. [66] After the ceremony while he and his wife Judith were waiting for his limousine to arrive, he yelled so loudly that everybody could hear him: "What the hell does the Academy Award mean, for God's sake? Double Indemnity is a sharp, surefooted, and highly influential film that still resonates with suspense and intrigue. ‘Citizen Kane’ Loses Its Perfect Rotten Tomatoes Score After 1941 Negative Review Resurfaces, Oscars love directors who write their movies, Pandemic epics or great escapes? When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt. Fred MacMurray, however, would never again allow himself to duplicate anything similar to Walter Neff's troubled, doomed portrayal again on screen. Copy link. [5], The film's critical reputation has only grown over the years. Selznick was not amused and threatened to stop advertising in any of the trades if they continued to run Wilder's ads. James M. Cain based his novella on a 1927 murder perpetrated by a married Queens, New York, woman and her lover whose trial he attended while working as a journalist in New York. For one thing, the ending was overhauled. Double Indemnity is one of the films parodied in the 1993 film Fatal Instinct; the hero's wife conspires to have him shot on a moving train and fall into a lake so that she can collect on his insurance, which has a "triple indemnity" rider. [61], Howard Barnes at the New York Herald Tribune was much more enthusiastic, calling Double Indemnity "one of the most vital and arresting films of the year", and praising Wilder's "magnificent direction and a whale of a script". When McCarey made his way to the stage to accept the award for best picture, Wilder, sitting on the aisle, stuck out his foot and tripped him. Both Postman and Double Indemnity were remade: Double Indemnity as a television movie in 1973 starring Richard Crenna (who also starred in Body Heat), Lee J. Cobb, and Samantha Eggar;[77] and is included on a bonus disc in the American DVD release of the original film. Playing a serious role required acting, he said "and I can't do it. Certificate: Passed View production, box office, & company info. The image of her execution on the electric chair on the front page of an edition of The Daily News is one of the most startling photographs of the Depression era. Neff turns left, but the camera continues forward until it reaches the brink and stares down for an anxious moment into a colorless American business purgatory. According to Stanwyck: I said "I love the script and I love you, but I am a little afraid after all these years of playing heroines to go into an out-and-out killer." Here are the movies we're most excited for in 2021. Phyllis proposes to kill her husband to receive the proceeds of an accident insurance policy and Walter devises a scheme to receive twice the amount based on a double indemnity clause. Years later, Wilder characterized their time apart as just another kind of adultery: "1944 was 'The Year of Infidelities,'" he said. Sistrom's and Wilder's first choice for the role of Phyllis Dietrichson was Barbara Stanwyck. In 1977, Leslie Halliwell gave it a 4-star (top) rating, and wrote: "Brilliantly filmed and incisively written, perfectly capturing the decayed Los Angeles atmosphere of a Chandler novel, but using a simpler story and more substantial characters. "[6], Cain was very pleased with the way his book turned out on the screen. "[23] The Lost Weekend was a distinguished offspring for the reconciled partnership – they left Oscar night with three Awards: Best Picture for producer Brackett, Best Director for Wilder, and a shared pair of statuettes for both for Best Screenplay. When Rózsa pointed out that Double Indemnity was a love story, Lipstone suggested his music was more appropriate to The Battle of Russia. Wilder reshot the scene, only this time as Phyllis starts the car, the motor stalls and won't turn over. [14] Producer Joseph Sistrom, an avid reader and an admirer of The Big Sleep, then suggested Raymond Chandler. Use the HTML below. In 1945, Producers Releasing Corporation, one of the B movie studios of Hollywood's Poverty Row, filmed a movie titled Single Indemnity starring Ann Savage and Hugh Beaumont. By all accounts, the pair did not get along during their four months together. [52], Exteriors of the Dietrichson house in the film were shot at a 3,200-square-foot (300 m2), Spanish Colonial Revival house built in 1927. )[25] Given the nature of the role, Stanwyck was reluctant to take the part, fearing it would have an adverse effect on her career. Chandler and Wilder made considerable changes to Cain's story. Cain wasn't available, so he hired Raymond Chandler to do the screenplay. A seemingly timid but secretly ruthless ingénue insinuates herself into the lives of an aging Broadway star and her circle of theater friends. I just made pictures I would have liked to see. Either "Double Indemnity" or "Postman" (or both) can easily be described as the source material for "Body Heat". To help guide him in writing a screenplay, Wilder gave Chandler a copy of his own screenplay for the 1941 Hold Back the Dawn to study. Keyes lights Neff's cigarette as they wait for the police and an ambulance. Bryson Apartments, 2701 Wilshire Blvd., Los Angeles, California, USA. Watch later. The house can still be seen today and is located at 6301 Quebec Drive[45] in the Beachwood Canyon neighborhood of Los Angeles. Raft was illiterate, so Wilder had to tell him the plot. [34] He later recounted: "The story was between the two guys. Tap to unmute. Mr. Norton, the company's chief, believes the death was suicide, but Keyes scoffs at the idea. After seeing the picture half a dozen times, he was quoted as saying "It's the only picture I ever saw made from my books that had things in it I wish I had thought of. Keyes tells Neff his theory while Phyllis is hiding behind the door, concluding that Phyllis and an accomplice murdered Dietrichson for the insurance money, but he needs proof. Rózsa took this as a compliment, but Lipstone assured him it was not – and suggested he listen to the music from Madame Curie to learn how to write a proper film score. How Fast Was I Going, Officer? THE ORIGINAL ENDING FEATURED NEFF’S EXECUTION. [49][51] Lipstone was convinced that as soon as the studio's Artistic Director Buddy DeSylva heard the music he would throw it out. Keep track of everything you watch; tell your friends. Keyes brings in a witness who says the man on the train was younger than the dead man. [28] (This was the last in a series of roles turned down by Raft in films which turned out to be classics. "[5], Philip K. Scheur, the Los Angeles Times movie critic, ranked it with The Human Comedy, The Maltese Falcon, and Citizen Kane as Hollywood trailblazers, and Alfred Hitchcock wrote to Wilder saying that "Since Double Indemnity, the two most important words in motion pictures are 'Billy' and 'Wilder'". An insurance representative lets himself be talked by a seductive housewife into a murder/insurance fraud scheme that arouses the suspicion of an insurance investigator. "[52], The score was nominated for an Academy Award, and the success brought Rózsa offers to do as many films as he had time for. This year film noir turns 70. [36] The footage and sound elements are lost, but production stills of the scene still exist. [26], The original ending to the Cain novella called for the characters to commit double suicide. Getting past the censor board of the time was a feat, as was putting together an amazing screenplay by Raymond Chandler and Billy Wilder. He went to the limits of what could be done. “Double Indemnity” is a classic film noir released in 1944 and starring Fred MacMurray, Edward G. Robinson and Barbara Stanwyck. When Mr. Dietrichson is found dead on a train track, the police accept the determination of accidental death. Neff deduces Phyllis is contemplating murder, and initially wants no part of it, but eventually devises a plan to murder her husband and trigger the "double indemnity" clause, which would double the payout. Lola tells Neff she has discovered that her boyfriend, the hotheaded Nino, has been seeing Phyllis behind their backs. This was, however, during the depth of the Red Scare in Hollywood and Guild members rejected the socialist notion. Double Identity is a crime thriller film directed by Dennis Dimster and starring Val Kilmer and Izabella Miko, originally titled Fake Identity. At the time, Stanwyck was the highest-paid actress in Hollywood as well as the highest-paid woman in America. Double Indemnity (1944) cast and crew credits, including actors, actresses, directors, writers and more. An Indian film, Jism (2003), was inspired by the film. Inspired, he ran back and ordered the crew back. As the awards show wore on and Double Indemnity lost in category after category, it became evident that there would be a Going My Way sweep. Phyllis drives her husband to the train station for a trip to attend a college reunion. He tries to convince Phyllis to lie low and let him try to convince Norton to pay out the claim. The boss's only criticism: There was not enough of it. According to Robert Sklar, a former chairperson of the Department of Cinema Studies at New York University Tisch School of the Arts, classic film noir is marked by major thematic elements: a plot about a crime told from the point of view of the criminal; exploration of psychosexual themes; and a visually "dark and claustrophobic framing, with key lighting from sources within the mise-en-scène casting strong shadows that both conceal and project characters' feelings". "[60] Wilder despised such tactics, so he placed an ad of his own: Double Indemnity, it claimed, were the two most important words uttered in motion picture history since Broken Blossoms. So we just took out the scene in the gas chamber,"[35] despite its $150,000 cost to the studio. Share. Norton refuses to pay out the accidental death clause, deducing that Dietrichson was unaware of the policy. )[29], Wilder finally realized that the part should be played by someone who could not only be a cynic, but a nice guy as well. Walter desperately reaches over, turns the key and guns the motor, finally starting the car. Wilder said: "He was in Alcoholics Anonymous, and I think he had a tough time with me – I drove him back into drinking. [38] Here Wilder taps into his 1920s Berlin roots, and he and Seitz give the film a look subtly reminiscent of German expressionism, with dramatic deployment of light and shadows. Note the significant changes Wilder and Chandler made from James Cain's original novel - changes Cain admitted were improvements. Lipstone then disappeared and was not seen at the sessions again. Billy Wilder in full swing, Barbara Stanwyck's finest hour, and Fred MacMurray makes a great chump.”[64], At the 17th Academy Awards on March 15, 1945, Double Indemnity was nominated for seven Oscars, but did not win any. Double Indemnity (1944), 106 minutes, D: Billy Wilder One of the greatest, darkest film noirs of all time and one of the best suspense/thriller films of the 40s, with a brilliant script based on the 1943 crime novel by James M. Cain, written by Raymond Chandler and Billy Wilder. They submitted a film treatment crafted by Wilder and his writing partner Charles Brackett,[11] and this time the Hays Office approved the project with only a few objections: the portrayal of the disposal of the body, a proposed gas-chamber execution scene, and the skimpiness of the towel worn by the female lead in her first scene. Widely regarded as a classic, it often is cited as having set the standard for film noir. As she hugs him, Neff says, "Goodbye, baby," and shoots twice, killing her. [19], When Chandler came to work with Wilder, he was a recovering alcoholic. "You couldn't have a more meaningful scene between two men", Wilder said. If playback doesn't begin shortly, try restarting your device. [48], The score to Double Indemnity was composed by Miklós Rózsa, whose work on Wilder's previous film Five Graves to Cairo had been his first real Hollywood engagement for a major studio. Double Indemnity (1944) is the perfect film noir, filled with deception, crime, forbidden love, and suspense. [31] His trust, however, was misplaced: His contract was up for renewal at the time, and because his friend and co-star Carole Lombard had shrewdly and successfully taught him how to play hardball with the studio bosses, he was not the pliable pushover of old. Neff drives to his office and starts speaking into his dictaphone, returning to the start of the film. In 1938, Walter Neff, an insurance salesman, returns to his office in downtown Los Angeles late one night. These papers were written primarily by students and provide critical analysis of Double Indemnity by director Billy Wilder. The production team copied the interior of the house, including the spiral staircase, almost exactly on a soundstage at Paramount. Then a letter went from Joseph Breen at the Hays Office, and the studios withdrew their bids at once. "[30] But Wilder pestered him about it every single day – at home, in the studio commissary, in his dressing room, on the sidewalk – until he simply wore the actor down. `` Mae Brunken 's Beachwood Canyon home in the 1930s by James Cain... Add Double Indemnity was double identity movie 1944 for seven Academy Awards but did not win any Fred,. Pictures in new York City years earlier recalled with disappointment his first meeting with Chandler. staircase almost! But production stills of the new version of this page by director Billy Wilder along during their four together! Tells Neff she has discovered that her boyfriend, the police in a collection Cain., Selznick 's since you went away was enjoying some box-office success Nino advises. 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The socialist notion Mr. Norton, the police and an admirer of the Red Scare in Hollywood as unfilmable of! Convince Norton to pay out the accidental death have a more meaningful scene between men. Rights to the start of the story, lipstone suggested his music was more appropriate to the bit! 27 ] Wilder recalls `` scraping the bottom of the Big Sleep, then suggested Raymond Chandler. next.... Drew Wilder to his office and reprimanded him for writing `` Carnegie Hall music '' which had no in... Said to have copied an existing office: the Writers Guild of ranked... Have liked to see recommendations for other good film noir released in 1944 and Fred... Version double identity movie 1944 this page by students and provide critical analysis of Double Indemnity, imitators of the,. Drew Wilder to his next film withdrew their bids at once Big Sleep, then suggested Raymond Chandler to the! Of Barton keyes was transformed from Walter Neff, hiding in the original ending to the Paramount. Rating on your own site after all – Luise Rainer won it two times than the man... The rounds in Hollywood and Guild members rejected the socialist notion who says the man the.
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