🎦 Double Indemnity full movie HD download (Billy Wilder) - Crime, Drama, Thriller, Film-Noir. 🎬
Double Indemnity
Year:
1944
Country:
USA
Genre:
Crime, Drama, Thriller, Film-Noir
IMDB rating:
8.4
Director:
Billy Wilder
Fred MacMurray as Walter Neff
Barbara Stanwyck as Phyllis Dietrichson
Edward G. Robinson as Barton Keyes
Porter Hall as Mr. Jackson
Jean Heather as Lola Dietrichson
Tom Powers as Mr. Dietrichson
Byron Barr as Nino Zachetti
Richard Gaines as Edward S. Norton, Jr.
Fortunio Bonanova as Sam Garlopis
John Philliber as Joe Peters
George Anderson as Warden at Execution (scenes deleted)
Al Bridge as Execution Chamber Guard (scenes deleted)
Edward Hearn as Warden's Secretary (scenes deleted)
Boyd Irwin as First Doctor at Execution (scenes deleted)
George Melford as Second Doctor at Execution (scenes deleted)
William O'Leary as Chaplain at Execution (scenes deleted)
Storyline: 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.
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iPhone 320x240 px 176 Mb h264 239 Kbps mp4 Download
Reviews
A prime example of film noir and the rare genius of Wilder
When we think of film noir, we think of a corrupt and glamorous world of gangsters, cigarettes and femme fatals. We think of shadows of venetian blinds and wide angle close ups. Double Indemnity is one of the best and most known examples of this genre. Billy Wilder is an absolute genius, his stories always unfolding at the right pace, and his way of bringing them to the screen barely ever impeccable.

This is the forties cinema. A story of love and betrayal, of manipulation and big money. The story of femme fatal Barbra Stanwick luring poor insurance salesman Walter Niff to kill her husband so they can be together. Stanwick has what it takes to make her character look sexually dangerous and desirable. Niff has the ways and traits to make his character look like a stylish fool. But as far as acting is concerned, both are surpassed by the wonderful Edward G. Robinson, who is extraordinary delivering lines faster than MacMurray can say "shut up, baby".

This sort of cinema will never age. It will always find a point of relation to today's society. And when it's directed in such a beautiful way, it's little wonder that the noir is so loved and remembered. The mise sn scene is beautiful. MacMurray's and Stanwyck's character are never really portrayed close. Even when they kiss, they are always shot at an awkward angle. When they are in the same frame, Wilder always makes sure that there's something in the way, whether it's a mother and a child in a supermarket, or a fish tank in the study room of the man whose murder is being secretly plotted. This murder plot reaches its height of tension when MacMurray lures Stanwyck's husband to sign a life insurance, as he thinks he is signing an ordinary car one. He is in fact signing his life away.

As in too many noirs, though, it pitfalls into the use of voice over. That is forgiven because from the start we know that he is telling Edward G. Robinson the story, speaking into the voice recorder, confessing his crime of passion. It is a film of which we know the ending already. In fact, one of the most interesting things about the film is the way we observe the main character, and the way that we back him up sometimes, only to change our minds other times. Almost every scene is necessary to make up our minds, when really the only good guy is Robinson in the whole movie.

WATCH FOR THE MOMENT - When the murder plot is put in act, from the arrival to the station, to when the car won't start...
2009-01-28
I Wonder if you Wonder
Greetings again from the darkness. "I wonder if you wonder." Every time I hear Walter Neff say those words to Phyllis Dietrichson as their initial encounter concludes, I smile and settle in for another round of Double Indemnity (1944) ... one of my all-time favorites. Though I have seen it many times over the years, I recently saw it for the first time on the big screen ... and from a 35mm print! So much of the subtle filmmaking becomes apparent - the variance of lighting, the intensity of shadows, and the vividness of close-ups. This reinforces my belief that we should never miss an opportunity to view good films in a theatre setting ... just as the director intended.

Since this film was released 67 years ago, it's difficult to discuss without noting a key plot point or character reaction. If you haven't seen it and plan to, you might stop reading here. If you would like a little insight, then let's keep going. Billy Wilder (left) directed the film and his place as a Hollywood legend is quite secure. He was nominated for 21 Oscars (Director, Writer, Producer) and had 3 wins. Some of his classics are: The Lost Weekend, Sunset Blvd, Witness for the Prosecution, Some Like it Hot, The Apartment, The Front Page. Many think of Wilder as a comedic filmmaker and he certainly had success in that genre, but if you watch closely, even his comedies have a dark element to them.

Double Indemnity is based on the novella by James M Cain, who also wrote Mildred Pierce and The Postman Always Rings Twice. Wilder was a fan of Cain's book, but knew the dialogue wouldn't work well on screen. So together with Raymond Chandler they wrote a screenplay filled with crackling lines and a constant feeling of dread and pending doom. As great as the script is, it is heightened by a wonderful cast that includes Fred MacMurray, Barbara Stanwyck, Edward G Robinson, Porter Hall, Jean Heather, Tom Powers, Richard Gaines and Byron Barr.

For me, MacMurray's performance is what brings the words to life and jumps the film to the "must see" category. He is playing against two Hollywood heavyweights in Stanwyck and Robinson, but we are somehow sympathetic to this not-so-bright guy who gets played like a fiddle by the villainous, wily woman he lusts after. Even as he is recording his confession, a part of us understands how he got drawn into MURDER! Not just any murder, but one for money and love ... only there is no money, and there is no love.

Ms. Stanwyck is perfectly cast as the femme fatale who weaves her web of deceit and destruction. She quickly spots the vulnerability of MacMurray's character and uses her assets just enough to hold the leash tight. It is a testament to her screen presence that she can pull off the sultry siren while sporting a less-than-desirable blonde wig. At the time, the wig was so controversial that the producers compared it to George Washington and wanted it trashed. However, filming was too far along and now it's impossible to imagine her looking any other way. Besides, MacMurray only seems to notice her anklet!

Edward G Robinson made a name for himself as a tough-guy actor ... cop and mobster all rolled into one. Here he plays the insurance investigator with a sixth-sense for fraudulent claims. He is a hard-nosed, dedicated employee who takes his responsibility very seriously and has no sympathy for those who cheat his cherished system. He has a soft spot for co-worker MacMurray, even though he is one of the back-slapping salesmen he so loathes. Their relationship in the film is one of respect and about as close as two professional men could be, given the era. When Robinson goes off on his rant about suicide research, he is a joy to behold. This guy could flat chew scenery.

In addition to the infamous wig, you might also notice that MacMurray is wearing a wedding band throughout the film, even though his character is clearly a single man. Wilder and MacMurray stated many times over the years that was simply a mistake and not "caught" until post-production. Expect a chuckle when MacMurray, as the narrator, enviously describes a Spanish style Los Angeles home as costing $30,000 ... probably less than the property taxes would be on that house today. The film originally was to end with MacMurray in the Gas Chamber and Robinson looking on (inset), but this was deemed inappropriate. One last little nugget: early in the film, MacMurray walks out of Robinson's office and past a man sitting on a hallway chair reading a paperback book. That man? Raymond Chandler, in his only on screen appearance.

The film is often described as quintessential Film Noir. Another prime example of Film Noir would be The Big Sleep (1946), based on a Raymond Chandler novel, directed by Howard Hawks, and starring Humphrey Bogart and Lauren Bacall. While Film Noir might not be an easily definable term, there are certain elements that must be present. Lighting is key. Shadows must be prevalent. Some type of detective story is usually at the center, and we typically get some poor schlub of a guy being yanked around by the femme fatale. The right "mood" is essential ... as a viewer we know things are headed down the wrong path, but we just can't save the characters from their own poor choices. But neither can we look away. That helpless feeling is a strong indicator that you just watched a terrific Film Noir.
2012-01-05
Classic touchstone of film noir experience
In order to begin a story with the ending and still maintain suspense throughout the movie a film-maker needs to be quite sure of his skills to capture the attention of his audience. Director/writer Billy Wilder, assisted by established novelist Raymond Chandler with the screenplay, knows how to do it. He presents his film noir entirely in flashbacks, narrated in atmospheric voice-overs leading eventually to what we've already seen in the introduction. And despite the fact that we know where it's all heading we're still glued to our seats. New at the time and often copied ever since, but rarely done that well.

Central point is the mutual plan of an insurance rep and the wife of a rich husband to commit the perfect crime and literally get away with murder. Said salesman Walter Neff (Fred McMurray) not only commits the crime, but is also supposed to investigate it along with insurance inspector and friend Barton Keyes (Edward G. Robinson). Reluctantly but inevitably he stumbles into his own demise, which he is unfortunate to experience from either side of the law. What makes this dark existential dilemma so exciting is not so much what happens but how it is presented to the viewer and how the components fit together to form a supreme whole. Thanks primarily to an amazing script and aided by Wilder's flawless direction that leaves nothing to desire for a film noir devotee the film indeed lives up to the expectations of its promise and has since become an invaluable reference. Aside from McMurray and the terrific Robinson there's also Barbara Stanwyck playing the ensnaring femme fatale, and all of them deliver sharp dialog. Add to that high-contrast black and white cinematography, effective lighting, multiple Oscars winner Miklós Rózsa's score - all the best ingredients for a touchstone of film noir experience, complete with fatality drive. Classic.
2012-05-06
Justifiably At The Top Of Most Film Noir Lists
This is one of the best-liked classic films of all time and I am among that large group of fans as well.

Few movies have ever had dialog this entertaining.....at least the conversations between Barbara Stanwyck and Fred MacMurray. I think it's a big appeal to this movie, except to younger folks who look at it as "cheesy."

I read the book, Double Indemnity written by James Cain, and was surprised that the film's snappy dialog was not in it. This is one of the rare times when the movie was far better than the book. That's not a shock after you find out that literary giant Raymond Chandler and Hall Of Fame director Billy Wilder combined to write the screenplay,

For a murder/suspense story, there is very little action, almost none, yet there are no boring lulls. The three main actors - Stanwyck, MacMurray and Edward G. Robinson, are what make this so good.

MacMurray's narration is fun to hear as he tells the story in flashback, from the beginning by dictating into an old Dictaphone to his co-worker Robinson. The latter is almost mesmerizing in his performance, the way he delivers his lines. He can even make a speech about something as boring as insurance and still keep you riveted to the screen.

Stanwyck was no sex symbol (at least to me) but she looked great here in the most seductive of 1940s clothing and, like Robinson, has a distinctive voice and accent that keeps your attention.

This film was the inspiration for the 1980 movie, "Body Heat," starring William Hurt and Kathleen Turner. That, too, was a very, very good movie....but not many films are in the class of this one.
2005-12-23
Another hit for Billy Wilder
This wonderful film, with its brooding 1940's atmosphere and superb black-and-white photography (by John Seitz) is one of Hollywood's best. Fred MacMurray's performance, as the insurance man besotted with Barbara Stanwyck, and Edward G Robinson's as his boss help make this film memorable. The turns of the plot and the highly-charged suspense ensure that the viewer will not be disappointed. Another of Billy Wilder's hits. Well done!
2001-04-09
Don't Drink The Lemonade: Run!
Spoilers Ahead:

This works so well that Kasdan copied so much of it. McMurray is out of his typical role as a jaded salesman looking to do more than sell insurance policies. The first feature that is great is that Phyllis is like an iceberg, what you see of her, just like Matty Walker in Body Heat, is very, very little. The first meeting is just two predators walking around each other sizing, no pun intended, each other up. Dressing to kill with perfume and bracelets, she is constantly looking for an existential vacuum cleaner to rid herself of an unwanted husband. What works well is we never know how much Keyes knows about what is going on. Wilder starts with Keyes tearing up a phony claimant right in front of Neff, this sets the stage for, upon first viewing, never knowing if Keyes is toying with them. The mark of a great Film Noir is inversion, like Out Of The Past. There, the woman we thought was the victim was the tarantula behind the scenes, the biggest villain of all. Here, as in Body Heat, Phyillis is the picture of the needy, helpless, unhappy woman, she plays Neff like a violin. Again, as in Body Heat, she lets him think the killing is his idea, not hers. The actual killing, while meticulously planned, had one big hole in it, a witness verifying Phyllis' husband on the back of the train before the 'accident.' This comes back to haunt both of them for they need to establish that he was there, before he, supposedly fell.

This bungle is what starts Keyes on their trail; Mr. Statistics breaks out the memorized table for accidents and convinces himself of the truth. This starts the unraveling of the never quite happy couple. Neff gets spooked and starts to panic, what is creepy, when you watch this over, is that Phyllis was already planning Neff's demise during this period. Stanwyk's performance is the star of the movie; multi-layered with deceit upon deceit. Neff underestimates her, and he pays with his life for it. The most disturbing part is where the step-daughter relays how Phyllis was a nurse and how she killed her mother. Like Body Heat, the male protagonist discovers that the poor victim is actually a malevolent predator. By the end, Neff is the helpless one, I love when he walks towards her thinking that she would never shoot him, wrong. This remains the classic for its writing above all; nothing is as it appears upon the surface. Wilder toys with us, we start looking over our shoulders for Keyes, just as Neff does.

Like all classic Noir, watch for the shadow filled first meeting between Neff and Phyillis, compare to the ending. Shadows in Noir are existential metaphors for Darkness inside of people. Even in the first meeting, the room is full of shadows, often behind Phyllis and on parts of her body. The husband is drawn unsympathetically to increase your surprise when you discover she has been planning this since she was a nurse who killed the first wife. This is why people compare Body Heat to this classic; the Femme Fatale is a sliver of her true self. As the male victim gets in over his head, both Kasdan and Wilder unveil the hidden monster. While I prefer Out Of The Past, for Douglas and Mitchum, this is a very close second. Don't let McMurray scare you away, Wilder has him under control here; honestly, it is not the rambling McMurray of The Caine Mutiny. Edward G. steals all of his scenes, the movie was attacked on the grounds of his role being more of a cameo than real support. Yes, he has just a few scenes, but he looms invisibly in the background worrying both Neff and the audience. The 40's movie code sanctioned infidelity quite severely, this movie is no exception. It attenuates Neff being as truly a victim as Mitchum's moral protagonist in Out Of The Past.

It is simply, one of the best written, acted and directed Film Noirs. When you watch it, study how the director uses shadows in the frame; they usually fall upon the people. Excellent Classic, Wilder's Best Movie By A Mile. Q.E.D.
2016-02-16
An all-time Hollywood classic
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.
2003-08-11
Film Noir Masterpiece
The premier "film noir" entrée, DOUBLE INDEMNITY stands as the model for the genre. Told entirely in flashback, it is the grim, yet seductive story of a life insurance agent who falls for a treacherously sultry married woman plotting to do her husband in for the payoff. DOUBLE INDEMNITY is nothing less than a requirement for anyone who asks, "What is film noir?" For all the ingredients are present: the cold-hearted criminal plot, the adulterous romance, the step-by-step implementing of the deed, the anxiety-ridden moments as a steadfast mind zeroes in on the guilty parties, and the inevitability of the final justice---all filmed in grim black and white.

Did Fred MacMurray ever have a greater moment in his acting career playing Walter Neff, the Los Angeles insurance agent knocked out by a bored housewife who ropes him into her diabolical web? Did Barbara Stanwyck ever really overcome the powerful persona of Mrs. Dietrichson, the calculating murderess standing at the top of the stairs in a bath towel? And could there have been a better screen writer for DOUBLE INDEMNITY than the assiduous Raymond Chandler (THE BIG SLEEP, FAREWELL, MY LOVELY, THE LONG GOODBYE), who remains the unequaled master of the Los Angeles detective genre?

Not to be outdone, Edward G. Robinson turns in a yeoman's performance as Keyes, MacMurray's boss. Keyes is a walking encyclopedia of fraudulent insurance claims and is nearly infallible in his ability to sniff out the rotten stench of not-so-accidental death. In one memorable scene, Keyes reduces his own superior to pulp as he lectures him that "no one ever committed suicide by throwing themselves off a train moving at 5 miles per hour." He cites the statistics of death by poisoning, drowning, lightning strikes, and electrocution straight off the top of his head. At what point Keyes becomes suspicious of Neff is never quite clear; but he is certainly suspicious of Stanwyck from the start--and Neff had taken Stanwyck's life insurance policy just before her husband supposedly went off the caboose.

One certain proof that a detective drama is succeeding is the identification the audience has with the villains. A cold-blooded murder has been committed, yet we somehow squirm nervously for the perpetrators hoping their plot succeeds. The epitome of this identification occurs in the scene after Neff impersonates Dietrichson on the train. MacMurray races back to the car where Stanwyck awaits and the car engine stalls. He tries to turn it over again and again. We actually want the car to start!

The only soft spot that exists in this sensationally crafted Ramond Chandler script is MacMurray's character transformation. He simply evolves from cavalier life insurance salesman to murderer far too soon after falling for Stanwyck. Moreover, Neff's seemingly air-tight plot to erase Dietrichson materializes a bit too quickly and precisely in his mind.

What is central is that in the end it isn't Neff's boss Keyes who throws the light on the murder--it's the adulterous relationship between MacMurray and Stanwyck itself. No one other than the plotters themselves was needed to undo the evil, for the villainous collaboration contained the seeds for its own destruction. In the end, the lovers turn on one another and the twisted relationship destroys both of them.

DOUBLE INDEMNITY is simply one of Hollywood's movie detective classics. And anyone who fails to include DOUBLE INDEMNITY in an all-time list of greats knows very little about films.

Dennis Caracciolo
2005-05-17
The greatest film noir of all time
Now here's something you don't see everyday: A black and white crime classic about an insurance salesman who kills a man. Your probably thinking, What's this idiot on about. Well isn't the murderer a godfather or hit-man? Or maybe I haven't seen enough film noir, Either way this is a great movie, Possibly the best black & white along with Schindler's List and Psycho.

It's got amazing suspense, great acting and the special edition is coming out. Here are some reasons to buy it: -It got #69 in the top 250 -It's got non stop thrills -It's got a perfect romantic picture What's not to love?
2005-09-17
enjoyed this dark Who-dunnit...
Barbara Stanwyck (multi bw movies "Lady Eve", many others) and Fred MacMurray (also many bw movies, then the dad on My Three Sons TV series) meet as an insurance salesman attempts to sell an insurance policy to a California housewife. They both play dark, sinister roles, unlike what they are both known for. I love the playful banter as they flirt and tease each other before things get more serious. Plot also has several clever twists, and the viewer squirms several times when the investigators almost catch people in compromising positions in a Hitchcock manner. Edward Robinson is MacMurray's boss helping to track down the clues. Billy Wilder directed. Movie was remade later in 1973 with richard crenna, but stick with the old b/w version.
2004-04-04
📹 Double Indemnity full movie HD download 1944 - Fred MacMurray, Barbara Stanwyck, Edward G. Robinson, Porter Hall, Jean Heather, Tom Powers, Byron Barr, Richard Gaines, Fortunio Bonanova, John Philliber, George Anderson, Al Bridge, Edward Hearn, Boyd Irwin, George Melford, William O'Leary, Lee Shumway - USA. 📀
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