What a film! This fantastic picture from 1944 stars Fred MacMurray, Barb Stanwyck, and Edward G. Robinson. Film noir is not my favorite genre of oldie films, but this one quickly became one of my favorites. Directed by Mr. Wilder and produced (uncredited by the way) by Buddy G. DeSylva and Joseph Sistrom. The scene opens to Walter Neff (MacMurray) walking into his bosses' office to record the story of his life, the story of how he murdered a man for money and a broad, and how it ended up hurting him in the end.
Classic film noir scene with the shadow of window treatments!
Neff sells insurance and starts his story at this amazing Spanish style house in LA where he meets his client's wife, Phyllis. She is half naked but gets dressed to come and see what Neff is all about.
With all that is torn down and demolished in Hollywood, it pleases me to say that the house is still there and virtually unchanged with exception to the garage door and some landscaping.
Phyllis comes down the stairs in nothing more than a towel and an anklet, and right away Neff wants more than just to sell insurance.
Neff gives her the sales pitch with some flirting added in as Phyllis tries not to notice. She mentions she wants accident insurance for her hubby but that she doesn't want him to know about it. She tells him to come back in a few days when her husband is supposedly going to be home. Neff thinks nothing of this conversation and practically drools out the door.
Neff tries to concentrate at work but can't stop thinking about Phyllis. Boss Barton Keyes played masterfully by Robinson and Neff talk insurance business. Keyes is no nonsense and relies on his gut to help him decide which insurance claims are fraud and which ones are legit. You don't mess with Edward.
"I want to commit adultery!"
I don't want to give too much away, so if you haven't seen the film yet, beware. This is a rare oldie that keeps you on the edge of your seat, so this is your official spoiler alert! Needless to say, the two fall in love and devise a plan to knock off the husband, make it look like an accident, collect insurance money, and live happily ever after.
The plan seems to work until Keyes hears about it and gets that gut feeling.
Neff is super paranoid and only wants to meet Phyllis at the grocery store.
A great set designed by the art department team at Paramount including Hans Dreier, Hal Pereira, and Bertram Granger
Phyllis goes for the "discrete" look by wearing sunglasses indoors.
Neff is worried the plan is going to fail and Phyllis gets mad that Neff won't hang out with her unless they are purchasing food.
Their love is being complicated by Neff's paranoia, his boss, and the attention that Phyllis desires as she chose him over her late husband. The pressure is intense for Neff and he finds himself not sure what to do. A definite cliff hanger, which is rare in old films, that you will have to watch to find out.
Wilder had no trouble getting male lead for this part, many wanted it including George Raft, Alan Ladd, and Dick Powell. Wilder wanted Barb but she was worried about her reputation playing an adulteress. Wilder asked her," Are you an actress or a mouse?" She was so furious she signed on that instant. Edward didn't want the part as he was far from the lead, but after learning he was receiving the same salary as Barb and Fred he signed on, and we are all glad he did. He might have been third billing, but his role intensifies the plot and makes this film much more suspenseful. A fun goof in this film is where Neff and Phyllis first kiss. You get a glimpse of Fred's personal wedding ring on his finger, as in reality he was married to wife Lillian Wehmhoener. It wasn't noticed until post production. Double Indemnity was nominated for 7 Academy Awards for Barb, and Billy, including best picture, but it won none, losing to Going My Way for best picture.
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