Double Indemnity

James M. Cain, virtuoso of the roman noir, gives us a tautly narrated and excruciatingly suspenseful story in Double Indemnity, an X-ray view of guilt, of duplicity, and of the kind of obsessive, loveless love that devastates everything it ...

Author: James M. Cain

Publisher: Vintage Crime/Black Lizard

ISBN: 9780307778420

Category: Fiction

Page: 128

View: 687

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James M. Cain, virtuoso of the roman noir, gives us a tautly narrated and excruciatingly suspenseful story in Double Indemnity, an X-ray view of guilt, of duplicity, and of the kind of obsessive, loveless love that devastates everything it touches. Walter Huff was an insurance salesman with an unfailing instinct for clients who might be in trouble, and his instinct led him to Phyllis Nirdlinger. Phyllis wanted to buy an accident policy on her husband. Then she wanted her husband to have an accident. Walter wanted Phyllis. To get her, he would arrange the perfect murder and betray everything he had ever lived for.

Double Indemnity

In 1943 Wilder adapted and directed James M. Cain's novel Double Indemnity ( 1936 ) for the screen . The book was inspired by the Ruth SnyderJudd Gray case of 1927 , in which a New York woman and her lover were convicted of murdering ...

Author: Billy Wilder

Publisher: Univ of California Press

ISBN: 0520922816

Category: Performing Arts

Page: 139

View: 871

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On every level -- writing, direction, acting -- Double Indemnity (1944) is a triumph and stands as one of the greatest achievements in Billy Wilder's career. Adapted from the James M. Cain novel by director Wilder and novelist Raymond Chandler, it tells the story of an insurance salesman, played by Fred MacMurray, who is lured into a murder-for-insurance plot by Barbara Stanwyck, in an archetypal femme fatale role. From its grim story to its dark, atmospheric lighting, Double Indemnity is a definitive example of World War II-era film noir. Wilder's approach is everywhere evident: in the brutal cynicism the film displays, the moral complexity, and in the empathy we feel for the killers. The film received almost unanimous critical success, garnering seven Academy Award nominations. More than fifty years later, most critics agree that this classic is one of the best films of all time. The collaboration between Wilder and Raymond Chandler produced a masterful script and some of the most memorable dialogue ever spoken in a movie. This facsimile edition of Double Indemnity contains Wilder and Chandler's original -- and quite different -- ending, published here for the first time. Jeffrey Meyers's introduction contextualizes the screenplay, providing hilarious anecdotes about the turbulent collaboration, as well as background information about Wilder and the film's casting and production.

The Double Indemnity Murder

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 ...

Author: Landis MacKellar

Publisher: Syracuse University Press

ISBN: 0815608241

Category: Biography & Autobiography

Page: 420

View: 681

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Queens Village was a picture-perfect postcard New York suburb. But in March 1927 the façade of respectability was stripped away to reveal an underside of greed, lust, and crime. Few incidents in crime history have been so notorious as the murder of Albert Snyder by his wife and her lover. Resonant of the footloose Jazz Age, it made persistent headlines and led to a sensational trial. The crime spawned a 1920s Broadway play and inspired the classic noir film of the 1940s, Double Indemnity. This book assesses the entire case, from grisly slaying and shabby cover-up to sharp police work and aftermath. Moreover, it explores sociocultural questions that beg to be answered: what effect does news reportage exert upon high profile cases, and why did such a transparent crime earn such an enduring place in the popular psyche?

Double Indemnity

They , more than the tale they tell , are the source of Double Indemnity ' s original impact , and they remain the basis of its continuing hold on us . To put the point simply , their singular qualities are the source of the film ' s ...

Author: Richard Schickel

Publisher: Bloomsbury Publishing

ISBN: 9781838715434

Category: Performing Arts

Page: 72

View: 426

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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.

Double Indemnity

Double Indemnity was a key film in the definition of the genre that came to be known as film noir.

Author: Richard Schickel

Publisher: British Film Inst

ISBN: UOM:39015029216028

Category: Performing Arts

Page: 72

View: 615

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Double Indemnity was a key film in the definition of the genre that came to be known as film noir.

Analyzing patriarchal gender relations within Double Indemnity 1944

After a short introduction to her character, I will examine Phyllis in relation to men. This is pivotal for the success of this paper. How is she affected by patriarchal gender relations and why is her womanhood threatening to men?

Author:

Publisher: GRIN Verlag

ISBN: 9783668193284

Category: Literary Collections

Page: 18

View: 436

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Seminar paper from the year 2012 in the subject American Studies - Miscellaneous, grade: 1,3, University of Mannheim, course: Film Noir, language: English, abstract: In the course of my paper, I explore how Billy Wilder's film “Double Indemnity” (1944) depicts patriarchal gender relations and why Phyllis Dietrichson’s character is socially relevant and a testament to those patriarchal structures of her time. I will start by establishing the concept of Patriarchy in chapter 2. The chapter is important to clarify basic ideas that emerged from gender studies and lay a foundation. Chapter 3 introduces the femme fatale as a female archetype in Film noir. Here, I will point out what characterizes the showpiece-femme fatale, with reference to the socio-cultural background. The following Chapter is the main focus of my paper: The analysis of Phyllis Dietrichson in “Double Indemnity” (1944). After a short introduction to her character, I will examine Phyllis in relation to men. This is pivotal for the success of this paper. How is she affected by patriarchal gender relations and why is her womanhood threatening to men? And since we are dealing with a filmy analysis, how is this cinematically staged? Chapter 5 will concentrate on the relationship between Walter Neff and Barton Keyes. I decided to add this chapter because their male-male bond reinforces patriarchal ideas and is a perfect contrast to the relationships of Phyllis with Walter and her husband. By tradition, the conclusion is the finishing part of my paper.

LIFE

Double Indemnity, adapted from James M. Cain's story of the same name, is one of those rare motion pictures which treat murder as a study of psychological tensions rather than playing up the usual chases between cops and killers.

Author:

Publisher:

ISBN:

Category:

Page: 104

View: 711

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LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.

On Sunset Boulevard

Wilder approaches Stanwyck: Double Indemnity pressbook; Wiley and Bona, p. 144. “We hire Barbara Stanwyck...”: Friedrich, Nets, p. 165. Derlinger: AMPAS, Paramount Collection, Double Indemnity production file 3.

Author: Ed Sikov

Publisher: Univ. Press of Mississippi

ISBN: 9781496812650

Category: Biography & Autobiography

Page: 675

View: 478

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On Sunset Boulevard, originally published in 1998, describes the life of acclaimed filmmaker Billy Wilder (1906-2002), director of such classics as Sunset Boulevard, The Lost Weekend, The Seven Year Itch, and Sabrina. This definitive biography takes the reader on a fast-paced journey from Billy Wilder's birth outside of Krakow in 1906 to Vienna, where he grew up, to Berlin, where he moved as a young man while establishing himself as a journalist and screenwriter, and triumphantly to Hollywood, where he became as successful a director as there ever was. Double Indemnity, Sunset Boulevard, Some Like It Hot, and The Apartment"Wilder's cinematic legacy is unparalleled. Not only did he direct these classics and twenty-one other films, he co-wrote all of his own screenplays. Volatile, cynical, hilarious, and driven, Wilder arrived in Hollywood an all-but-penniless refugee who spoke no English. Ten years later he was calling his own shots, and he stayed on top of the game for the next three decades. Wilder battled with Humphrey Bogart, Marilyn Monroe, Bing Crosby, and Peter Sellers; kept close friendships with William Holden, Audrey Hepburn, Jack Lemmon, and Walter Matthau; amassed a personal fortune by way of blockbuster films and shrewd investments in art (including Picassos, Klees, and Mir's); and won Oscars--yet Wilder, ever conscious of his thick accent, always felt the sting of being an outsider. On Sunset Boulevard traces the course of a turbulent but fabulous life, both behind the scenes and on the scene, from Viennese cafes and Berlin dance halls in the twenties to the Hollywood soundstages of the forties and the on-location shoots of the fifties and sixties. Crammed with Wilder's own caustic wit, On Sunset Boulevard reels out the story of one of cinema's most brilliant and prolific talents.

Hearings

The bill contains no specific requirement as to the insurability of the applicant or of his condition of health , except that the Administrator may not add the double indemnity provision to any policy while the insured is totally ...

Author: United States. Congress. House

Publisher:

ISBN: UOM:35112104240892

Category:

Page:

View: 372

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Veterans Insurance

The bill contains no specific requirement as to the insurability of the applicant or of his condition of health , except that the Administrator may not add the double indemnity provision to any policy while the insured is totally ...

Author: United States. Congress. House. Committee on Veterans' Affairs

Publisher:

ISBN: LOC:00176559822

Category: Government life insurance

Page: 224

View: 170

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Some Like It Wilder

Rozsa, Double Life, 142. 45. Robert Horton, “Music Man: Miklos Rozsa,” Film Comment 31, no. 6 (1995): 3. 46. Schickel, Double Indemnity, 39. 47. Crowe, Conversations with Wilder, 357. 48. Peter Evans, “Double Indemnity,” in The Book of ...

Author: Gene D. Phillips

Publisher: University Press of Kentucky

ISBN: 9780813173672

Category: Performing Arts

Page: 464

View: 745

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One of the most accomplished writers and directors of classic Hollywood, Billy Wilder (1906--2002) directed numerous acclaimed films, including Sunset Boulevard (1950), Sabrina (1954), The Seven Year Itch (1955), Witness for the Prosecution (1957), and Some Like It Hot (1959). Featuring Gene D. Phillips's unique, in-depth critical approach, Some Like It Wilder: The Life and Controversial Films of Billy Wilder provides a groundbreaking overview of a filmmaking icon. Wilder began his career as a screenwriter in Berlin but, because of his Jewish heritage, sought refuge in America when Germany came under Nazi control. Making fast connections in Hollywood, Wilder immediately made the jump from screenwriter to director. His classic films Five Graves to Cairo (1943), Double Indemnity (1945), and The Lost Weekend (1945) earned Academy Awards for best picture, director, and screenplay. During the 1960s, Wilder continued to direct and produce controversial comedies, including Kiss Me, Stupid (1964) and The Apartment (1960), which won Oscars for best picture and director. This definitive biography reveals that Wilder was, and remains, one of the most influential directors in filmmaking.

The Last Word

The Censored War (New Haven and London: Yale University Press, 1993). 10. Letter from PCA to L. B. Mayer, October 10, 1935, Motion Picture Association of America, Production Code Administration records. 11. Quoted in “Double Indemnity” ...

Author: Justin Gautreau

Publisher: Oxford University Press

ISBN: 9780190944575

Category: Performing Arts

Page: 352

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The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination.

The Effect of the Point of View in Double Indemnity Novel and Screenplay

This is followed in the last chapter by a conclusion.

Author: Kay Scheffler

Publisher: GRIN Verlag

ISBN: 9783656248996

Category: Literary Criticism

Page: 18

View: 883

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Seminar paper from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Würzburg (Neuphilologisches Institut), course: Film Noir and Literature (Hauptseminar), language: English, abstract: In 1927, a woman named Ruth Snyder and a man named Judd Gray were sentenced to death by the electric chair, because they murdered the husband of Ruth, Albert Snyder. They murdered him for a 48,000$ life insurance with a double indemnity clause in it. Both of them also had an affair before they decided to murder Ruth's husband. Judd Gray was a corset salesman. Present to the trial was James M. Cain, at that time working as a reporter. Many believe that this case gave Cain the idea for one of his most famous novels, Double Indemnity. Several signs lead to that conclusion. First of all Ruth was unhappily married and began an affair with a salesman. Secondly her husband had already been married once, before he married Ruth, but his first wife died of pneumonia. Furthermore, the two of them had a daughter named Lorraine, who shares the same first two letters in her name with the Lola in Double Indemnity, daughter of Mr. and Ms. Nirdlinger. Moreover Ruth's husband was killed for the money of his life insurance, which contained a double indemnity clause. And last but not least they tried to disguise the murder as an accident, to collect on the double indemnity (see www.examiner.com). Many say that Double Indemnity was one of Cain's masterpieces, and it was made into a movie, which was named after the novel. It is even said, by some, to have heavily influenced the roman noir genre, as the movie is said to have had a great impact on the film noir genre (see Skenazy, 34/134; Marling, 263). The aim of this term paper is not to give an overview of what is roman, or film noir. It is just going to point out one specific feature of both of the genres, and will try to give an explanation what makes this feature so special. The feature spoken of is the point of view (or perspective, or focalisation). First, there will be the chapters two and three concerning the theoretical background of point of view in novels and screenplays. This will be done rather briefly and roughly, because this term paper is focused more on the effect of the point of view than the way it is structured. Chapters four and five then go into detail on the point of view in Double Indemnity, novel and screenplay. Over the course of these two chapters, two special effects will be highlighted, the 'Foreshadowing' and the way in which the reader's, or the audience's estimation of the characters is influenced. This is followed in the last chapter by a conclusion.

Hollywood Aesthetic

43 chapter, I want to show how Double Indemnity's characterizations and casting deviate from the film's genre identity. GENRE IN DOUBLE INDEMNITY Critics and filmgoers have loved Double Indemnity since its release in 1944.

Author: Todd Berliner

Publisher: Oxford University Press

ISBN: 9780190658748

Category: Motion pictures

Page: 320

View: 947

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Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The industry operates under the assumption that pleasurable aesthetic experiences, among huge populations, translate into box office success. With that goal in mind, Hollywood has systematized thedelivery of aesthetic pleasure, packaging and selling it on a massive scale. In Hollywood Aesthetic, Todd Berliner accounts for the chief attraction of Hollywood cinema worldwide: its entertainment value. Analyzing Hollywood in the areas of narrative, style, ideology, and genre, Hollywood Aesthetic offers a comprehensive appraisal of the aesthetic design of Americancommercial cinema. Grounded in film history and in the psychological and philosophical literature on aesthetics, the book situates aesthetic analyses within the context of film reception, the film industry, and the current understanding of human psychology.Illustrated with numerous examples, Hollywood Aesthetic analyzes the design of a range of films that span Hollywood history. The book examines films, such as City Lights and Goodfellas, that have earned aesthetic appreciation from both fans and critics. But it also studies curious outliers andcelebrated Hollywood experiments, such as The Killing and Starship Troopers, films popular with cinephiles and cult audiences. And it demonstrates the ways in which even ordinary popular films, from Tarzan and His Mate to Rocky III, as well as New Hollywood action blockbusters, like Die Hard and TheDark Knight, offer aesthetic pleasure to mass audiences. Hollywood Aesthetic explains how these and dozens of other Hollywood movies engage viewers by satisfying their aesthetic desires. Many film scholars dismiss Hollywood cinema as mere commercial entertainment and leave it at that. Hollywood Aesthetic explains how Hollywood creates, for huge numbers of people, some of their most exhilarating experiences of art.

Internal Revenue Bulletin

This double indemnity premium is also taxable . The suggestion that whether the policy is one merely of life insurance or not is to be determined by the death of the insured is without force . If so , all accident insurance policies ...

Author: United States. Bureau of Internal Revenue

Publisher:

ISBN: PSU:000056639247

Category: Taxation

Page:

View: 316

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The Director s Idea

Consider his use of Fred MacMurray in “Double Indemnity” as the romantic hero and later as the antagonist in “The Apartment.” MacMurray's performance in the latter has a coldness to it that makes Sheldrake the exact opposite of Baxter, ...

Author: Ken Dancyger

Publisher: Taylor & Francis

ISBN: 9780240806815

Category: Performing Arts

Page: 356

View: 274

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Ken Dancyger mixes theory with practice to bring the notion of the 'director's idea' to life, determining the director's approach to the actors, cameras and the script. He argues this will make a film deeper, more layered and ultimately more effective.

Double Indemnity

This facsimile edition of Double Indemnity contains Wilder and Chandler's original -- and quite different -- ending, published here for the first time.

Author: Billy Wilder

Publisher: University of California Press

ISBN: 0520218485

Category: Performing Arts

Page: 139

View: 417

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On every level -- writing, direction, acting -- Double Indemnity (1944) is a triumph and stands as one of the greatest achievements in Billy Wilder's career. Adapted from the James M. Cain novel by director Wilder and novelist Raymond Chandler, it tells the story of an insurance salesman, played by Fred MacMurray, who is lured into a murder-for-insurance plot by Barbara Stanwyck, in an archetypal femme fatale role. From its grim story to its dark, atmospheric lighting, Double Indemnity is a definitive example of World War II-era film noir. Wilder's approach is everywhere evident: in the brutal cynicism the film displays, the moral complexity, and in the empathy we feel for the killers. The film received almost unanimous critical success, garnering seven Academy Award nominations. More than fifty years later, most critics agree that this classic is one of the best films of all time. The collaboration between Wilder and Raymond Chandler produced a masterful script and some of the most memorable dialogue ever spoken in a movie. This facsimile edition of Double Indemnity contains Wilder and Chandler's original -- and quite different -- ending, published here for the first time. Jeffrey Meyers's introduction contextualizes the screenplay, providing hilarious anecdotes about the turbulent collaboration, as well as background information about Wilder and the film's casting and production.

Fred MacMurray A Biography

could be argued that any film which followed about an adulteress wife or husband who plans to kill their spouse owes a debt to Double Indemnity. Billy Wilder, one of the most successful and revered Hollywood directors, made many classic ...

Author: Charles Tranberg

Publisher: BearManor Media

ISBN:

Category: Performing Arts

Page:

View: 768

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BEST BOOK OF THE YEAR - Classic Images "...an outstanding, substantial read. Tranberg always tries to go the extra mile with his biographies (Agnes Moorehead), and it's nice to see an even balance between the private life and the movies." Fred MacMurray, one of the most durable stars in motion picture history, arrived in Hollywood in 1934. Within a year, he was one of the top leading men in the movie industry and continued through to 1973, when Walt Disney Studios released his final starring role in Charley and the Angel. His career spanned thirty-nine years and five decades; few stars have equaled that distinction. He first peaked as a Paramount leading man in 1935 until the end of World War 2. During post-war years, public tastes changed, yet he persevered in a variety of pictures that registered strongly with audiences and critics, such as The Egg and I (1947), and especially The Caine Mutiny (1954). Throughout the 1950s, Fred appeared in ten Westerns, until Walt Disney cast Fred in his studio's first live action comedy, The Shaggy Dog, made for under $1 million yet the third biggest box office hit of that year. Over the next several years, Fred starred in a series of hugely popular Disney films. In 1960, the My Three Sons television series made him a household word for the next twelve years, becoming a quintessential father figure for a new generation of kids. The author draws from commentaries by actors, producers, and directors that worked with Fred. 392 pages. Illustrated.

Flirtations

Double Indemnity, directed by Billy Wilder, 1944. There is an abundance of writing on the film; see, for instance, Joan Copjec, “The Phenomenal Nonphenomenal: Private Space in Film Noir,” in Shades of Noir (London: Verso, 1993), 167–98; ...

Author: Barbara Natalie Nagel

Publisher: Fordham Univ Press

ISBN: 9780823264919

Category: Social Science

Page: 192

View: 431

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What is flirtation, and how does it differ from seduction? In historical terms, the particular question of flirtation has tended to be obscured by that of seduction, which has understandably been a major preoccupation for twentieth-century thought and critical theory. Both the discourse and the critique of seduction are unified by their shared obsession with a very determinate end: power. In contrast, flirtation is the game in which no one seems to gain the upper hand and no one seems to surrender. The counter-concept of flirtation has thus stood quietly to the side, never quite achieving the same prominence as that of seduction. It is this elusive (and largely ignored) territory of playing for play’s sake that is the subject of this anthology. The essays in this volume address the under-theorized terrain of flirtation not as a subgenre of seduction but rather as a phenomenon in its own right. Drawing on the interdisciplinary history of scholarship on flirtation even as it re-approaches the question from a distinctly aesthetic and literary-theoretical point of view, the contributors to Flirtations thus give an account of the practice of flirtation and of the figure of the flirt, taking up the act’s relationship to issues of mimesis, poetic ambiguity, and aesthetic pleasure. The art of this poetic playfulness—often read or misread as flirtation’s “empty gesture”—becomes suddenly legible as the wielding of a particular and subtle form of nonteleological power.