This film noir classic may be the best murder mystery of all time in this storied Hollywood genre. Fred MacMurray and Edward G. Robinson are excellent but it is Barbara Stanwyck who really makes the picture come together as a woman without a moral compass. Stanwyck set the standard for tough, calculating, shady women who exploit men without shame or remorse and her masterful manipulation of MacMurray is the movie's central theme. The film's imagery is filled with shadows and low lighting, accompanied by a tense, brooding music score. Stanwyck spins her web of ensnarement like a black widow with her victim seemingly unaware of the danger that enfolds him. MacMurray provides the narrative of the film which is told in flashback and delivers a cryptic account of the events in a confession to a boss who trusted him completely. Robinson is on target as the skeptical and suspicious boss who has a sixth sense about phony insurance claims. A nice supporting cast contributes to this thriller, namely Richard Gaines and Porter Hall.
Double Indemnity (1944) 1080p YIFY Movie
Double Indemnity (1944) 1080p
An insurance representative lets himself be talked into a murder/insurance fraud scheme that arouses an insurance investigator's suspicions.
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The Synopsis for Double Indemnity (1944) 1080p
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. 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. When Mr. Dietrichson is found dead on a train track, the police accept the determination of accidental death. However, the insurance analyst and Walter's best friend Barton Keyes does not buy the story and suspects that Phyllis has murdered her husband with the help of another man.
The Director and Players for Double Indemnity (1944) 1080p
The Reviews for Double Indemnity (1944) 1080p
An all-time Hollywood classicReviewed byNewEnglandPatVote: 8/10
For years, I was entertained by film-noir homages/parodies like Garrison Keillor's "Guy Noir, Private Eye" and the Coens' "The Man Who Wasn't There," but I'd never seen an authentic noir. I finally got my chance with "Double Indemnity," which helped establish the genre as we know it. The expected elements are all here: Shadow-filled black-and-white cinematography. An ordinary man (Walter Neff, played by Fred MacMurray) who becomes an amoral criminal under the influence of a femme fatale (Phyllis Dietrichson, played by Barbara Stanwyck). Abundant cynicism, pessimism, and fatalism. Tough, stylized dialogue, including voice-over narration with a kind of hard-edged poetry to it.
However, because in the 21st century we see film noir parodies more frequently than the real thing, we've been conditioned to laugh at some of the excesses of the genre--especially this sort of narration. Thus, lines like "How could I know that murder could sometimes smell like honeysuckle?" or "I got to thinking about what cemeteries are for--they're for putting dead people in!" strike us as much funnier than they were probably intended to be. Instead of helping create a dark, gritty atmosphere, they actually jolt us out of the movie by prompting our scoffing laughter.
In short, "Double Indemnity" does a great job of establishing the rules of the world in which the story takes place, but we now have trouble accepting that world on its own terms. And I do believe that this movie was intended to have some humor to it--but of the grimly ironic kind, not the "isn't this a little ridiculous?" humor we find in it today.
Still, there is much to admire about "Double Indemnity." It has a very strong plot--simply but elegantly constructed, and even though its general outlines get revealed within the first five minutes, the movie always remains interesting. The relationship between Walter and Phyllis is intriguingly ambiguous--it's not clear whether they are motivated by lust, greed, or something else entirely. (Roger Ebert's Great Movies essay has some noteworthy theories about this, and made me realize that this ambiguity is an asset, not a flaw.) Most impressive and unexpected is the character of insurance-claims investigator Barton Keyes (Edward G. Robinson). Though Keyes functions like a detective, his role doesn't indulge in any "film-noir detective" clichés. Instead, he's the most real-seeming person in the movie: rumpled, gruff, blustering, detail-obsessed, highly conscientious, and very funny. And gradually, the film reveals that the relationship between Walter and Keyes is even more complex and interesting than that between Walter and Phyllis.
"Double Indemnity" will always be watched because of its role in establishing the conventions of film noir, but more importantly, it's still an entertaining movie--even if, sixty years later, it's sometimes entertaining for reasons the filmmakers never intended.
I'm not sure I can think of any new original praise for this film. All I can say is that the suspenseful twists and turns of the the classic film-noir plot and the moral ambiguity of Walter and Phyliss brought to life by truly memorable performances by MacMurray and Stanwyck (and Robinson in his key supporting role as Keys) left an indelible mark on my cinema mad mind even before I had become aware of the film's deserved legendary reputation. When I think of this film, I think of Proverbs 5:3-5 For the lips of a strange woman drop as an honeycomb, and her mouth is smoother than oil. But her end is bitter as wormwood, sharp as a two-edged sword. Her feet go down to death; her steps take hold on hell.