A new kind of film emerged from Hollywood in the early 1940s, thrillers that derived their plots from the hard-boiled school of crime fiction but with a style all their own. Appearing in 1944, 'Double Indemnity 'was a key film in the definition of the genre that came to be known as film noir. Its script creates two unforgettable criminal characters: the cynically manipulative Phyllis Dietrichson (Barbara Stanwyck) and the likeable but amoral Walter Neff (Fred MacMurray). Billy Wilder's brilliant direction enmeshes them in chiaroscuro patterns, the bright California sun throwing shadows of venetian blinds across dusty rooms, shafts of harsh lamplight cutting through the night. Richard Schickel traces in fascinating detail the genesis of the film: its literary origins in the crime fiction of the 1930s, the difficult relations between Wilder and his scriptwriter Raymond Chandler, the casting of a reluctant Fred MacMurray, the late decision to cut from the film the expensively shot final sequence of Neff's execution. This elegantly written account, copiously illustrated, confirms a new the status of 'Double Indemnity' as an undisputed classic.
This facsimile edition of Double Indemnity contains Wilder and Chandler's original -- and quite different -- ending, published here for the first time.
DOUBLE INDEMNITY is the classic tale of an evil woman motivated by greed who corrupts a weak man motivated by lust.
Al had made mind — he wanted a policy for either twenty - five thousand or fifty thousand dollars , with Mrs. Snyder as beneficiary and double indemnity in case of death by misadventure . He wanted to pay for it on the " Modified Life ...
The behind-the-scenes story of the quintessential film noir and cult classic, Billy Wilder's Double Indemnity--its true crime origins and crucial impact on film history--is told for the first time in this riveting narrative published for ...
New Orleans homicide detective Jo Crowder and FBI Special Agent Alex Hill suspect there is a sinister relationship between Heartland Insurance and a research laboratory that is testing an experimental serum on animals.
Embezzler: A likable and bright-but-not-too-bright former college football star who's the vice-president of a California bank.
A revisit of the 1950s classic that inspired Orson Welles's film Touch of Evil Assistant District Attorney Mitch Holt suspects the wrong people have been arrested in the murder of Rudy Linneker.
This is followed in the last chapter by a conclusion.
It established James M. Cain as a major novelist with an unsparing vision of America's bleak underside, and was acknowledged by Albert Camus as the model for The Stranger.
In pain from a gunshot wound to his shoulder, he begins dictating a confession into a dictaphone for his friend and colleague, Barton Keyes, a claims adjuster. The story, told primarily in flashback, ensues.