🎦 Double Indemnity full movie HD download (Billy Wilder) - Crime, Drama, Thriller, Film-Noir. 🎬
Double Indemnity
Crime, Drama, Thriller, Film-Noir
IMDB rating:
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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"She was a tramp from a long line of tramps."
Film noir classic, directed by Billy Wilder, about an insurance salesman (Fred MacMurray) who falls for a married woman (Barbara Stanwyck). She uses him to help her get rid of her husband problem. It's a firecracker of a film that moves quickly, with hard-bitten characters and snappy dialogue brought to life by a great cast and a legendary director. Easily MacMurray's best role on the big screen. Wonderful supporting work from Edward G. Robinson. Stanwyck is terrific, as well, although selling her as the kind of woman a man could fall in lust with at first sight is one of the film's only flaws. Beautifully shot by John Seitz. The incredible score is courtesy of Miklós Rózsa. A lot of top talent worked on this. Nominated for seven Oscars, it took home zero. Which is a crying shame, especially with regard to the screenplay written by Billy Wilder and Raymond Chandler, adapted from a novel by James M. Cain. I like Going My Way as much as the next person but, come on now, this script has quite possibly the best dialogue in movie history. It's on my list of top ten favorite movies of all time so obviously I recommend it.
Double ingenuity
I consider this to be one of the best movies ever made. The lines in the movie are classic and create an atmosphere that top most other movies. Fred MacMurray and the other actors are brilliant and the chemistry between Fred and Barbara is sparkling. All in all this is a great movie that everyone should see and be amazed by.
Some times, when they least expect it.....
There are occasional times when all the elements come together to make a great film that will stand the passing of time. "Double Indemnity" seems to be an example of this phenomenon.

First, there was a great novel by one of America's best mystery writers, James Cain, who created these characters that seem will live forever in our imagination. Then, the lucky break in getting the right man to direct it, Billy Wilder, a man who knew about how to make a classic out of the material that he adapted with great care and elegance with Raymond Chandler, a man who knew about the genre.

"Double Indemnity" works because it's a story we can relate to. There is a greedy woman trapped in a bad marriage, who sees the opportunity when she encounters an insurance agent who is instantly smitten with her and who has only sex in his mind. The manipulator, Phyllis Dietrichson, doesn't need much to see how Walter desires her. His idea of having her husband sign an insurance policy he knows nothing about, thinking he is doing something else, will prove a fatal flaw in judgment.

Mr. Wilder achieves in this film what others try, with disastrous results. The director, who was working under the old Hays Code, shows so much sex in the film with fully clothed actors, yet one feels the heat exuding from the passion Walter Neff feels for Phyllis. He is a man that will throw everything away because he is blinded by the promise of what his life will be once the husband is out of the picture.

In life, as well as in fiction, there are small and insignificant things that will derail the best laid plans. First, there i Jackson, the man who shouldn't have been smoking at the rear of the train, contemplating the passing landscape. Then, no one counts in the ability of Barton Keys, the man in the agency who has seen it all! Walter and Phyllis didn't take that into consideration and it will backfire on their plan.

We try to make a point to take a look at "Double Indemnity" when it shows on cable from time to time. Barbara Stanwyck makes a magnificent Phyllis. There are no false movements in her performance. Phyllis gets under Walter's skin because she knows where her priorities lie and makes good use of them in order to render Walter helpless under her spell.

Fred McMurray makes a perfect Walter. He is consumed by his passion and he will do anything because of what he perceives will be the reward for doing the crime. Walter Neff was perhaps Mr. McMurray's best creation. He is completely believable and vulnerable.

Edgar G. Robinson, as Barton Keys, makes one of his best performances for the screen. Keys is a man that has seen all the schemes pass by his desk. He is, in a way, Walter's worst nightmare, because working next to Keys, he gets to know how wrong he was in the planning of the crime.

The supporting cast is excellent. Porter Hall, Jean Heather, Tom Powers, Richard Gaines, Fortunio Buonanova and John Philliber are perfect.

The music score of Miklos Rosza gives the film a texture and a dimension that capitalizes on the action it intends to enhance. Also the music of Cesar Franck and Franz Schubert contribute to the atmosphere of the movie. The great cinematography of John Seitz, who will go on to direct films, is another asset in the movie. Edith Head's costumes are absolutely what a woman like Phyllis would wear right down to her ankle bracelet.

This film shows a great man at his best: Billy Wilder!
A banner movie from film noir's classic era.
Double Indemnity is directed by Billy Wilder and Wilder co-adapts the screenplay with Raymond Chandler from the novella written by James M. Cain. It stars Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. Music is by Miklos Rozsa and cinematography by John F. Seitz.

For a film lover such as myself it feels redundant writing a review for Double Indemnity, because quite simply there's nothing to say that hasn't been said already. The esteem it is held in is justified, it's a razor sharp noir across the board and can be put up as one of the classic noir era pictures that got lovers of the form interested in the first place.

Based around the infamous Snyder/Gray case of 1927, Wilder and Chandler fill the story with a sinister cynicism that is palpable in the extreme. With a script positively pumped with hard boiled dialogue, a simple case of murder becomes so much more, a labyrinth of devious cunning and foolishness, with a trio of top performances crowning this topper.

Technically via aural and visual work the story gains extra spice. Rosza provides a score that frays the nerves, imbuing the sense of doom and edginess required for plotting. Seitz excels, the photography a trademark for noir, heavy shadows, abrupt camera angles and menacing shards of light come to the fore.

And to top it all off, it gets away with so much, a real censorship baiter. The story takes a journey to the dark side of morality, and the makers, bless them for they know what they do, gleefully tease the production code to give film noir fans a reason to rejoice.

Quintessential stuff. 10/10
A Brilliantly Written Classic
"Double Indemnity" is a great movie with many great attributes but foremost among these must be its scintillating screenplay which combines wit, intelligence, razor sharp remarks and double entendres in such an effective way that, as well as being immensely entertaining, it also contributes strongly to driving the pace of the story. The quick fire dialogue and superb repartee are so engaging that they command the attention of the audience right from the start and also provide added impetus to all the action that follows. Billy Wilder and Raymond Chandler collaborated in adapting James M Cain's story for the movie and the end result was nothing short of brilliant and was understandably nominated for the Academy Award for Best Writing, Screenplay in 1945.

The characters featured in this evil tale are very memorable and in the case of the two main protagonists are also very immoral. Walter Neff (Fred MacMurray) is a fast talking insurance salesman who goes to visit a client and in his absence meets his wife Phyllis Dietrichson (Barbara Stanwyck). Their first encounter during which Dietrichson appears dressed only in a bath towel, leads to some flirting and their relationship develops further when Dietrichson eventually convinces Neff to take part in a scheme to sell her husband an accident policy (unknown to Mr Dietrichson) and then to murder him so that the couple can collect the insurance money and enjoy a future together.

Neff advises that the policy will pay out double if the fatal accident occurs on a train and so, when Mr Dietrichson is due to go on a business trip, arrangements are made for him to travel by train. Neff carries out the murder and dressed like Mr Dietrichson (complete with crutches) takes his place on the train journey before the couple place the body on the tracks to give the impression that Mr Dietrichson died as the result of an accidental fall from the observation car of the train.

After having carried out their plan successfully, the events that follow conspire to introduce a series of complications which lead to the couple losing their trust in each other and also to the movie's dramatic conclusion.

Fred MacMurray is perfect in his role as the very self assured Neff who's corrupted by lust and a greed for wealth. His portrayal of someone who thinks he knows all the angles but whose confidence is gradually eroded as things start to go wrong is very convincing and Barbara Stanwyck is also excellent as the cold, manipulative seductress who is utterly ruthless and seemingly devoid of any human feelings. Edward G Robinson appears in the role of Barton Keyes, a claims investigator who works for the same firm as Neff. Barton is very experienced and incredibly good at his job and possesses a strong instinct which enables him to sense immediately if a claim is likely to be fraudulent. He and Neff enjoy a longstanding friendship which involves a good deal of warmth and mutual respect. Robinson's performance is outstanding as he delivers some super-fast speeches and conveys the nature of his character's idiosyncrasies with great panache.

In typical film noir style, the story is told in flashback with Neff's narration providing a particularly matter-of-fact account of what happened. When he says "I killed him for money and for a woman. I didn't get the money and I didn't get the woman", there's an inherent poignancy in his words but the delivery is completely lacking in any sentimentality or self pity. The same can be said for his remark that "we did it so that we could be together, but it's tearing us apart".

"Double Indemnity" is a dark thriller which became the prototype for many later movies which told similar stories but rarely with the same style and impact as the original. Billy Wilder's direction is superb and especially successful in contributing to the high levels of suspense that are generated at various junctures throughout the action. This is a film of rare quality and one that, because of its subject matter, will undoubtedly continue to be a source of great entertainment and fascination for movie lovers for many years to come.
"I love you too."
Mere words cannot express my love for this film. This movie is a crystallization of silver screen perfection, a rare event where every little thing aligns to bestow the lucky viewers with what can only be described as breathtaking art.

The performances in this movie are superb. In a script riddled with hardboiled dialog and outlandish implausibilities, everyone hits the right note, and makes the endeavor compelling. Stanwyck is at her most seductive and powerful, and Edward G. Robinson gives the movie the perfect moral ground.

But the best performance has to be given to Fred MacMurray who turns the clichéd role of a man seduced by a woman into something more than the sleaze bag he should be. He becomes a character you're invested in, a man who is shaken from his complacent life and thoroughly destroyed by the demons he creates. And through this all, through murder in its many incarnations, you still can't help feel for the man. The character of Walter Neff, in so many words, takes on a life of its own thanks to MacMurray, and keeps the audience compelled no matter what sins he commits. The tics and libido exuded add to his charm and make him deservedly one of the most iconic characters of all time.

A lot of this credit must be given to Billy Wilder, my personal favorite director and a man whose films can all be completely different but possess enough tics to be instantly recognizable. The beauty of his shots and the set up of the script blend perfectly, creating a universe that is tangible and complex.

If you have not seen this movie, please do.
Collusion with Angora
In 1943, director of the film, "Double Indemnity", Billy Wilder, was painstakingly determined to complete a motion picture about this compelling novel written by James M. Cain. Cain is known for other great novels such as "Mildred Pierce" and "The Postman Always Rings Twice". In the process of creating this major motion picture, several actors, including George Raft and Alan Ladd, turned down the job as the sinister leading male role in this movie. Finally, the part was offered to squeaky clean, Fred MacMurray, this appointment is literally, out of character for MacMurray! Barbara Stanwyck received the honor for the lead female role in "Double Indemnity", and Edward G Robinson was given the third billing as a star in this picture. This post of third billing was something that had not happened to Edward G Robinson since his prior acting days before "Little Caeser", which was made in 1931. Robinson capitulated to a third billing spot because he had a great admiration for the concept that the film "Double Indemnity" so intricately purported! The whole genre to "Double Indemnity" was set up flawlessly, as it orchestrated a deliberately contradictory dynamic. Behind the sunny pleasantry of Los Angeles, there lurked a deep rooted and conniving chicanery amidst a couple of masterminds who began implementing a horribly dark aspect of human behavior. The film, "Double Indemnity" manifested the rough exterior that the United Staes was besieged with because of their involvement in World War II. The American movie goer had become a little less naive since the advent of WWII, and, this reflected itself accordingly with regards to the type of movie they wanted to see. The film noir captivated the American public, and, now, the movie industry encompassed a myriad of wry depictions that were germane to the pejorative side of an individual. This dubiously sensationalistic technique by the motion picture industry was perceived as intriguing by the newly enlightened movie audience of the early 1940's!! The film "Double Indemnity" epitomizes the entire film noir pique, right alongside with the uncanny masterpiece "Maltese Falcon". "Double Indemnity" did not win for best picture in 1944, that year, the Academy Award was given to "Going My Way". As we all know, there are times when life simply does not make any sense, especially since a prominent Philadelphia critic rated "Going My Way" the worst Academy Award winning film in the whole history of the American cinema! "Double Indemnity" is considered to be Billy Wilder's best directing effort! The next year, Billy Wilder's directorial ability was totally vindicated, as he received his rightfully deserved acclaim with the film, "The Lost Weekend", which won for best picture in 1945. Billy Wilder received the Academy Award for best director that year as well. The film, "Double Indemnity" is truly remarkable!! The itemized and avaricious intensity to this movie was something that had not been depicted in films before the movie "Double Indemnity" was made. This film's wiles of malice and deceit were not expedited with a derivative and visceral disposition, rather, these antics were carried off with a dedicated fervor and paramount gratification. Fred MacMurray's character was perpetually afflicted with a relentless angst that infiltrated an acrimonious reveille to him about the primary repercussions of personal greed! His character, Walter Neff, endured a narrative agony which perpetuated a compulsive pontification about how people really are, as opposed to the way they are suppose to be! Barbara Stanwyck established her formidable status as a revolutionary femme-fatal in the Hollywood world of movies, with her performance in "Double Indemnity". Charismatically charming while wearing her diverse onslaught of angora sweaters, her beauty and allure became a necessary ingredient to the making of this film! The wig that Barbara Stanwyck wore for this movie, signified the overall mendacity to her heinously lethal and obsessive persona!! Stanwyck's intellectual ambiguity to this role was attributed to her overtly callous set of pecuniary priorities! Edward G. Robinson's character was the perennial voice of reason. Robinson was the legal eagle who would ultimately prevail in his tenacious quest to resolve all of these dubiously manufactured and felonious escapades! The final scene with MacMurray and Stanwyck was an all-time noir classic. This last scene with MacMurray and Stanwyck was one of the best scenes of any movie whatsoever, definitely head to head with the extraordinary last scene of the movie "The Killing". A respected production company ranks this ending the sixth best ending of any and all movies ever produced! The dramatic ending to "Double Indemnity" was rated right above "Casablanca" and right below "City Lights". The heightened glamor to the final scene for MacMurray and Stanwyck exuded a zenith within the realm of the classic film noir mystique. The emphatic, yet subtle, overtone to the song "Tangerine" playing in the background, became a melodic element to this final scene which was conducive to a sexually sedate form of apocalyptic doom and despair! Throughout the entire duration of this movie, Fred MacMurray and Barbara Stanwyck were always seducing each other with salacious innuendos! This ending wound up emulating a philosophical perspective used by writers of ancient Greek tragedies! Filming a movie in black and white is primarily advantageous to the quality of a film, as it obviates any disorientation to the impact of the characters' emotions!! AFI (AMERICAN FILM INSTITUTE) ranks "Double Indemnity" the 29th best film out of the top 100 American movies ever made! This website ranks "Double Indemnity" 53rd out of the top 250 films ever produced. Last, but certainly not least, America's Writer's Guild East, ranks "Double Indemnity" the 26th best written script ever in the history of American films!! The director, Billy Wilder, does a tremendous job with consummating the aggregate megalomania and rancor to this movie. The acting was sensational. "Double Indemnity" was up for seven Academy Awards in 1944! Without question! "Double Indemnity" is one of the greatest films ever created... FIVE STARS... PERFECT TEN!!!!
Ultimate film-noir
Double Indemnity is based on a novel by James Cain adapted to the screen by great novelist Raymond Chandler, who made here his most important contribution to the cinema history in his career, though somehow matched by following screenwriting work for 1946 Howard Hawks' classic The Big Sleep, and Billy Wilder, who previously worked as a screen writer for Ernest Lubitsch and had been already nominated three times for Academy Awards in the process before making Double Indemnity, which nevertheless played the key role in establishing him as one of the best writer-directors in Hollywood, and giving him his fourth Oscar nomination as a writer and his first one as a director.

Double Indemnity was the third feature Wilder directed after 1942 The Major and the Minor and 1943 Five Graves to Cairo, but it was definitely the first film, his primary American tragedy where the author for the first time revealed his black and somehow hopelessly pessimistic view of the American society and of the human society in general, blackishly desecrated in the film simply by populating it with exceptionally sordid characters, who independently of being a victim or victimized, of being the protagonists or just simple supporters are never really able to transcend the utterly low and devilish motivations in theirs as a consequence sordidly painful lives and reach such a state where the viewer might get relieved by considering one of them as a positive element. Instead the characters' lives shown in a continuous noir flashback of Fred MacMurray's not-a-confession are driven from the start to the very end by an utter greed in a form of double and not only indemnities with consequential and inherent to it risks and fears in a rather unsure world of insurance.

An insurance salesman Walter Neff (Fred MacMurray), a man with `no visible scars', starts to lose his already shaky dominance over his mind's yearnings when glimpses on a horizon a possibility of becoming a recipient of a monetary fortune along with no less seductive desire from a part of unhappily married and as devilishly beautiful as resourceful in pursuing her zany in its deadliness schemes, an ultimate femme fatale blond Phyllis (marvellously portrayed by Barbara Stanwyck).

Initially apparent as a romantic, the relationship gradually mutates into double confrontation of the two fears of the two characters in their greedy and ambitious pursuits, a conflict which at one point apparently results in a sort of humanization of Phyllis' character, appearing hiding the eyes of her soul behind the sun glasses, a humanization which is let to happen by her only to accentuate later her unchangeably fatal nature.

The double confrontation gradually evolves into a triple one when the threatening presence on the scene of no less and probably more resourceful character of Barton Keyes (Edward G. Robinson) becomes more and more evident, as a result of his continuous and obsessive investigation conducted with different but nor less ambitious motives. A motives which find its ultimate revelation in a most touching, but finally most hypocritical scene of declaration of love (I love you - I love you too) between Walter Neff and Barton Keyes in the end, exactly reflecting the same nature of previous interactions between Walter and Phyllis, where such moments with the very words used, such as the supreme word of loving affection - Baby lowered to an unthinkable extent, only were a mere preparation to struck another blow in yet another outburst of hate caused by a new misfortunate complication in carrying out so well devised and apparently perfect plan.

Permeated right from the start to the very end with the flavour of unstoppable fatality in an extent that a few other film-noirs achieved, accentuated by the wonderful music score by Miklos Rozsa, Double Indemnity's story is motored by the money like in nearly all of Billy Wilder films. But in this case all the misery produced by it as evident as never before resulting in utter corruption of already corrupted characters and their descent into a such a deep abyss of human misery as probably never before or after in a Hollywood film history, an abyss with no exit, with omnipresent hypocrisy, with no place for sincere human feelings of love, friendship or affection, an abyss to where the characters descent under the monotonous tune of Miklos Rozsa's score, which serves as a reflection of their monotonously hypocrite and ultimately doubly doomed lives. 10/10
"How could I have known that murder could sometimes smell like honeysuckle?"
Some cinematic matches seem made in heaven, no matter how discordant they may prove on Earth. Such was unquestionably the case with legendary writer/director Billy Wilder and author Raymond Chandler, when paired up to craft a film adaptation of a dark, seedy novel by James M. Caine, dealing with such rich cinematic potential as deception, double-crossing and murder. While the feuding between Wilder and Chandler was legendary, each despising each other's methods and taking any possible opportunity to ridicule each other, their cinematic concoction, Double Indemnity, was even more legendary. One of the most pitch perfect noir thrillers of all time, each component of the film fits together seamlessly to create a flawless slice of dark movie magic which has lost none of its atmospheric punch and poignancy when viewed in a contemporary setting, over sixty years later.

Double Indemnity proves unlike any other films of its time, as the film's tension is extracted not from the question of whether or not the lurid scheme of the central characters will succeed, but instead through the sickly knowledge that they are fated not to, inviting the viewer to watch the whole sordid affair unfold, to see each piece fit disastrously into place. From the opening titles, the film positively drips with fatalism between MacMurray's grim voice-over to the sublime noir lighting, all creating a pitch perfect mood of unease and despair. The masterful technical work is matched by the perfectly honed screenplay by Wilder and Chandler, delivering an engrossing treatise on greed, lust and their abilities to ensnare and corrupt while cleverly mixing cynical introspection with snappy banter and the kind of exquisitely stylized lines filmmakers simply could not pull off now (see the dynamic, thinly veiled "speeding ticket" sexual innuendo exchange between Stanwyck and MacMurray).

The idea of walking an audience through the planning and execution of a murder was a virtually unprecedented one, but the ingenious daring of Wilder and Chandler does not stop there. Not only does the film empathize with the murderers, Dietrichson for personal gain and Neff as much to shake up the prescribed order of things as his sordid infatuation with her, but also demonstrates how exhilarating and, crucially, entertaining the act of killing could be. Bathing the viewer in a seedy world of secret encounters, lurid sexual acts and casual violence played up as darkly fascinating as opposed to downright immoral, Wilder and Chandler choose to side with characters who ordinarily would have filled the roles of cinematic villains, with the lawful figure Keyes instead played almost as grotesque antagonist, blithely subscribing to a system revolving around asphyxiating order fated to collapse. Though evil is eventually punished, not only is it seemingly predisposed to overcome good, the film seems to silently state, but it is more interesting anyway - a pitch black, endlessly captivating moral stance which has lost not a shred of potency.

The casting of lead character Walter Neff carries a similar parallel story of infamy to the film itself; a series of successful stars passing on the role, concerned about the implications of humanising an unrepentant killer. The final casting choice, perennial nice guy Fred MacMurray playing decidedly against type proved simply brilliant, as MacMurray inhabits the role like a cool leather glove, his fast talking salesman veneer carefully concealing a deadness in his eyes, a forever looming darkness barely veiled. MacMurray accomplishes the truly laudable feat of taking a downright unsavoury character yet still retaining the audiences' sympathies despite each unethical act, perfectly essaying the moral crux of the film. Of course, the simply stunning performance by Barbara Stanwyck as one of the most memorable femme fatale figures of the era proves a lurid highlight, as Stanwyck arguably steals the show with her searing, sultry yet devious intensity, far too charismatic and cunning to ever be reduced to a simple object of desire. The two powerhouse leads are well supported by character actor Edward G. Robinson giving a deliciously repellent performance as an order obsessive insurance agent increasingly suspicious of the insurance scam presented to him.

Despite the hefty competition, there can be little doubt that Double Indemnity marks its place as one of the most emotionally gruelling and captivating film noirs of its time, and arguably in the history of the industry. Each flawless element of the film melds together to create a truly mesmerizing work just as grimly entertaining as it is technically laudable. For any in search of a taut, hard hitting piece of staunch film-making, few films would prove more fitting than Double Indemnity.

If you are a noir fan then this film is an absolute must see. The screenplay itself is a work of art in its character construction, plot structure and dialogue which is delivered by an ensemble of first class actors divying up first class performances. Barbra Stanwyck as the deadly, smouldering, scheming Phyllis Dietrichson turns in a performance that is right up there with Mary Astor's Brigid O'Shaughnessy. Fred McMurray delivers a performance of a smart but desperately lovelorn patsy and Edward G. Robinson is perfect in the role of Barton Keyes and just about steals the moment every time he appears on screen.

I personally love a good Noir film and this is right up there with the best of them. Billy Wilder should be proud of this work even though the Academy didn't see it fit to reward him for his efforts, however I personally think this film is an absolute winner.
📹 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. 📀