🎦 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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A film noir classic. Close to perfect.
James M. Cain's 'Double Indemnity' is one greatest crime stories ever written. It's not even novel length, only 80 pages or so, but close to perfect. I approached the movie version with some trepidation. I was aware that it was regarded as a film noir classic, and Billy Wilder is a great director, but I was put off by the casting of Fred MacMurray and Barbara Stanwyck in the lead roles. I grew up watching endless re-runs of 'My Three Sons' on TV so MacMurray was the last person I could imagine to play tough guy insurance salesman Walter Neff, and Stanwyck is one golden age actress I've never warmed to, and I don't think she was anywhere near as seductive enough to play Phyllis. However I needn't have worried, both actors are excellent, and screen legend Edward G. Robinson steals every scene he is in. A few things were changed from Cain's original novella by Wilder and collaborator Raymond Chandler, especially the ending, which is nowhere near as dark and pessimistic as the book version, but I have no complaints, as a movie it is close to perfect. 'Double Indemnity' is without doubt one of the best crime movies I've ever seen, up there with 'Rififi', 'Out Of The Past', 'The Killing', and a handful of others. Highly recommended.
An exceptional film-noir classic that leaves much to be desired
(NOTE: I've ticked the spoiler box because I talk about the death of a supporting character, but, if you know quite a bit about the films' story, then the mention of the death shouldn't be a surprise, considering the death is part of the film's overall conceit)

Billy Wilder's 1944 film-noir classic, "Double Indemnity", revolves around insurance representative Walter Neff (Fred MacMurray), who after meeting beautiful blonde Phyllis Dietrichson (Barbra Stanwyck), is coerced into murdering her husband and staging the incident as an accident, so they can collect the money off of his life insurance policy.

"Double Indemnity" has long been considered the standard for films in the film-noir genre, and it's not hard to see why. Stanwyck plays the role of the cunning and deceitful femme-fatale who allures the male protagonist into trouble, many scenes are lit and shot with heavy shadow and little light, the film is narrated by the protagonist, and the main conceit of the film is that of a crime perpetrated by the films' two main characters. It contains all the elements of your typical film-noir, and it's not hard to see its influence literally everywhere following its release.

And while I can definitively say I understand the influence the filmmaking and storytelling had on films of this genre, I can also for sure that this film has been done better different ways many times, and I only say that because it's considered THE benchmark film for film-noir. But I don't want to harp on the film too much, because it is good, and maybe better than I'm giving it credit for on a first impression basis, but as of writing this, I just don't feel the quality of the final product outweighs the films faltering aspects.

First off, the films' positives. The performances are all-around solid. When Neff's friend/colleague Barton Keyes (Edward G. Robinson) starts to close in on him and Phyllis, MacMurray easily conveys the sense of desperation and fear that Neff himself is feeling, all in his eyes, posture, and in every word he speaks. I never felt for a moment that MacMurray's performance was unbelievable. Stanwyck is great as well. You could reasonably infer everything about her character just by the way she postures herself, by the way she moves her eyes, and by the way she moves her lips. Everything about Phyllis can be found in the way Stanwyck expresses herself physically, which I would say is the mark of a pretty fantastic performance.

Now, what I feel drags the film down is the script. I never felt that there was really any connection between Neff and Phyllis. Sure, Phyllis is beautiful, but what else? Neff makes the conscious decision to risk his free life by deciding to be with Phyllis, but why? What is Phyllis giving Neff that he doesn't have? The film never presented to me a moment where I could infer that Neff was unhappy with his life, nor even happy. If he felt trapped in his life, then I could totally buy into the fact that he choose to be with Phyllis, but even then, why is Neff attracted to Phyllis? Can it really be just because she's beautiful? She doesn't offer Neff anything besides money and companionship, but again, I was never presented a moment that told me Neff felt in need of those things. I get that, more often than not, people will risk what they have for a woman they barley even know, but in a film, there has to be an element within the story that gives reason for a person to do that. MacMurray and Stanwyck do have chemistry, but I would attribute that to the actors themselves rather than the script. Neff and Phyllis really don't have any reason to be together except to move the plot forward, and I don't have any reason to care about either of them. I felt sympathetic for Neff during the later half, but I didn't necessarily care for him. Due to the lack of a relationship between the main characters, I didn't care about them, which led to the film being tensionless, which leads to me not caring about the film as a whole. Never in any one scene was I afraid of what was going to happen. And when you don't have a reason to care, any intended tension the director is trying to evoke falls flat.

Regarding any other positives, John Seitz's cinematography is fantastic, as well as Wilder's staging. There's a lot you can infer about what's happening purely through the films' visuals, and in saying that, I feel like the film would work a lot better as a silent one. Good cinematography and staging should complement the story, but I don't feel the films' execution of its story is good enough to hold up the cinematography and staging.

I feel like I've been harsher on the film than my overall rating might indicate, so I just wanted to confirm (again) that I do think the film is very good. I don't ever see my rating going below a seven, but I could see it going to an eight. There've been films that have left more of an impression on repeated viewings, and I'll probably be seeing "Double Indemnity" again in my lifetime, but not anytime soon. Me changing my mind really depends on the second or third watch, so it's honestly 50/50. Considering the films legacy and influence, I would highly recommend it to everyone who's interested in film.
A film noir masterpiece.
Walter Neff arrives at the home of The Dietrichson family, to sell insurance. While the husband absent he gets acquainted with Lola, the unhappily married second wife of Dietrichson. Being an insurance Salesman Neff knows the ins and outs, in particular how to commit the perfect murder. The pair hatch a plan, but Neff's colleague Barton Keyes starts to unravel the complex plan Walter and Lola concocted.

I love the film noir genre, there were some superb offerings, there's a strong case for naming Double Indemnity as the best of the lot. Firstly the story itself, so wonderfully complex, loaded with twists and turns. Secondly the acting, so strong, Fred MacMurray and Barbara Stanwyck are superb as the film's leads. I particularly love the way that Walter narrates the story, an original format, getting it from his point of view.

First time viewers are in for a treat, and will have zero idea of what the conclusion will be. Even now it looks so slick, excellent production values throughout, quite simply this film is exceptional. 10/10
Classic Film Noir Movie
This is a good film noir movie that is compelling to watch and leaves you thinking. I watched this film first in my film studies class at college and i thought when it came on "oh no" black and white its going to be boring but the fact is that it wasn't, the incredible storyline alone is so interesting the actors especially Fred Mac Murray are excellent picking Mac Murray out in particular a slick cool insurance salesman who is a bit of a womanizer!!.

I did however think that they would have got away with that kind of murder, i really think it would have been hard to find out the exact details of that case and then find the murderer or murderers. The film on a whole reminds me of The Godfather or an old classic murder drama, the dark rooms the fast New York accent talk and the fascinating dress sense (not to mention the way Neff can light a match like that so slick)!!

Overall a very enjoyable film for anyone of any age, it will not offend anyone and is one classic that must be seen

Timeless Classic
This film is great fun. Sxity years later, it's as taut and engaging and beautiful as any contemporary story.

It simmers, it sizzles, the tension between Neff and Dietrichson is positively palpable. But, as the tension between Neff and Dietrichson fizzles, the tension between Neff and Keyes heats up.

It's as pure a sample of classic film noir as there is, and it does it with unparalleled style.

This is what movie-making is all about. It's not a labrynth of characters and trick endings and gimmicks. In fact, the movie starts with our tragic hero admitting he's the who whodunit...what are we left with?

The story of how and why he dunit, of how he was intoxicated and bewitched, yet came to his senses, not soon enough to save him legally, but at least to come to terms with his own failure.
The finest of a fine genre...
A regular reviewer would get into the heavy details of the plot of Billy Wilder's `Double Indemnity', but I wont, because I feel that a film like this should be viewed by someone who knows practically nothing of the plot, so every scene can be a surprise. What I will say about the plot, just so you have an idea if you don't already know, is that insurance salesman Neff (Fred MacMurray) and his client Phyllis (Barbara Stanwyck) have a criminal plot to carry out, and claims man Keyes (Edward G. Robinson) is onto them.

The movie is a Film-Noir, a terrific B&W genre that died out, I guess, in the early sixties. Sure, Noirs are still being made today, but those ones are more of a homage to the classic Film-Noirs of the thirties, forties and fifties. `Double Indemnity' was released in 1944, when Film-Noir was at its prime, with releases like `The Maltese Falcon' right behind it and `The Third Man' just ahead. To me, `Double Indemnity' is the greatest.

It's hard to differentiate Noirs from the regular crime or mystery movies of the past, but I think Roger Ebert said it best in his review for `Out of the Past': `The noir hero is doomed before the story begins -- by fate, rotten luck, or his own flawed character. Crime movies sometimes show good men who go bad. The noir hero is never good, just kidding himself, living in ignorance of his dark side until events demonstrate it to him.' That character in `Double Indemnity' is Neff, a man who thinks he's carrying out Phyllis' plan because of his love for the woman, but indeed is not. He likes the plan, he likes doing it, just for the sake of carrying out the evil deed.

Phyllis shares his love for the dark, and the evil scheme is the basis of their relationship. They are never seen talking about anything but the plan, they don't want to, instead of being in love with each other they're in evil with each other.

And then there's Keyes, a man who's life has been consumed by his profession so much so that he once dumped his fiancée because he found out about some sketchy business from her past, he says. But he is a great man, strong willed and smarter than any other man working at his firm, including his boss. When his boss asks the wrong question he flares into a huge speech about why the question is ludicrous, and why the boss is unfit for his profession. Sure, he's rambling, but he has the right to, he's the cleverest claims man you'll ever find.

So the better part of the movie is about Neff avoiding and out-maneuvering Keyes, a situation which generates such heated suspense, on account of both the actors and Billy Wilder's expert direction and script (co-written by Raymond Chandler). MacMurray is perfect as the everyman with a dark side, using his pan expression and voice as an advantage. Some say Bogart would've been more suited with the role, but Neff is the kind of character that would look and sound tired all the time, just like MacMurray. Stanwyck shows delicious darkness in an Oscar-nominated role, there's a scene where her face gradually turns from tearful regret to y evil that sent chills down my spine.

And, of course, there is Edward G. Robinson, in a stellar performance, stealing every scene he is in from under Mac Murray (or whomever's) feet. The role is played with such skill and focus that personally I think it's a travesty he wasn't nominated for an Oscar for it.

`Double Indemnity' is the best Film-Noir, a template for perfection, 9/10.
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.
One of the finest noirs, Wilders, and, yes, films ever!
It's definitely hard to pin down a personal favourite Wilder film, though I tend towards his earlier masterworks such as 'The Lost Weekend', 'Sunset Boulevard'...and THIS. He was one of the finest at getting straight through the bullshit and to the heart of all things noir (as the immortal Jean-Luc Godard stated, 'All I need to make a film is a man, a girl and a gun').

Barbara Stanwyck is one of my favourite actresses of the period, and is a classic 'femme fatale'. I've never been a huge fan of Fred MacMurray, but his 'nice guy' persona is used to sheer advantage by Wilder, and he end up both doing his finest work for Wilder (here and in 'The Apartment') and being the ultimate noir male protagonist. Interestingly, one of my favourite actors, Edward G. Robinson, thought so much of the script that he opted out of his demand of never doing a supporting role. Many people admire Wilder the director, but as a writer (or co-writer) he's just as cinematically important and influential.

Like any other film of his, at least that I've had the pleasure to see, it's worth a purchase and re-watches. The dialogue, especially, is simply fantastic. I'd take just one of his early works over a hundred of the films Hollywood churns out nowadays. They're simply that better and intrinsically satisfying. Immortal cinema.
The last stop is the cemetery.
Fred MacMurray memorably plays Walter Neff, an insurance salesman whose fate is sealed when he meets Phyllis Dietrichson (a smoking hot Barbara Stanwyck), the wife of a client. She's had thoughts of bumping off her husband (Tom Powers), and he is able to put ideas into her head of how to murder the man and profit from it. It would seem to be the perfect crime, and it does go off without a hitch, but there's just one problem. Walter has a colleague named Barton Keyes (a grandiose Edward G. Robinson), who has a talent for smelling a rat when it comes to insurance claims.

The cast simply couldn't be better in this quintessential example of the entire film noir genre. Certainly the story (script by director Billy Wilder and author Raymond Chandler, based on the novel by James M. Cain) offers a now classic scenario that's been re-used many times since. The film is definitely dialogue heavy, but when the dialogue is this sharp, one can't really complain. Robinson, in particular, has a field day with his lines and he's able to get them out in a fast, breathless way. MacMurray is solid as a man who finds it increasingly hard to keep his cool, and is certainly no angel, given how readily he finds himself eager to pull off this scam. Still, he's absolutely no match for Stanwyck, who is one of the all time great "femme fatales" to be found in this genre. She's utterly conniving and knows how to turn on the heat to get what she wants. The three stars receive capable support from Porter Hall as a key witness, Powers as the murder victim, Jean Heather as his daughter, Byron Barr as her surly suitor, Richard Gaines as the boss at the insurance agency, and Fortunio Bonanova in a bit near the beginning as a luckless truck driver. (Chandler himself has a Hitchcock type role as a man reading a book outside Keyes' office.)

Craftily plotted, atmospheric, and quite witty, this hallmark of film noir deserves to be seen by any lover of Old Hollywood cinema.

10 out of 10.
"Noir" by Any Other Name...
This film hits the screen like a well trained Olympic runner with comfortable shoes who can feel the gold around his neck before his heels are even in the blocks. It's what they call `film noir,' because from the opening frames you know that the guy doing the talking is looking at a no-win situation, that he's going to lose and lose big. Oh, sure, he knows it now; everything you're about to see has already happened, his goose has already been cooked, and now he's going to tell you about it, let you in on what went down, how it went south and why. He'll even give you the heads up on the irony of the whole thing right out of the chute, how like our Olympic runner he could feel the gold in his hand before the ink on the insurance paper was even dry-- yeah, that's right it was an insurance scam, see, and a good one too-- all the bases were covered and checked for chinks, but in the end-- and here's where the irony comes in-- in the end, he didn't get the money and he didn't even get the girl who put the whole thing in motion.

`Double Indemnity,' a classic `noir' thriller in anybody's book, was directed by Billy Wilder, a guy who knows all the ins and outs, ups and downs and double shuffles of the business better than a short jockey on a tall horse. He's the `go to' guy in a game like this, because he knows all the angles, he knows the lingo and more than that, he has the insights to make it play out like it was the real deal; this guy knows what makes people tick, what motivates them and it's an ace up his sleeve that he plays like a trump card when the chips are down or even if a stack or two looks like they're about to go over. He knows the whole layout, from top to bottom and side to side because he wrote the script along with another guy you might have heard about, Raymond Chandler, another member of the club who just happens to know his way around the block and back again. This is a guy who doesn't need a road map to tell him which way to go; he's the guy who `invented' the map. And when a couple of the boys like Wilder and Chandler get together to make it up and put it down, it's as good as in the can, especially when they're getting the skinny in the first place from James M. Cain, who it just so happens wrote the novel this movie's based on. Besides which, they got the names Fred MacMurray and Barbara Stanwyck down on the dotted lines, the ones that count, the ones that say they're the ones who are the stars of the picture, see? Let's face it, that's like having Ruth, Mantle and Mays in the outfield at the same time with Sandy Koufax on the mound and Don Drysdale warming up behind him in the bull pen. The opposition might as well climb back on the bus and take the long ride on the short pier, because Wilder's team already has the big `W' next to their name in the box score.

Like I said before, and I'm going to say it again because if there's one thing I've learned during my time on the planet it's that sometimes people just don't listen, or maybe there's some things they just don't want to hear. But like I was saying, this story's about an insurance scam, a dirty deal that all starts when Mr. Walter Neff (MacMurray), a salesman with a head a couple of sizes too big for his hat, makes a house call and runs into a dame, and not just any dame; her name is Phyllis Dietrichson (Stanwyck), a woman with the kind of beauty that stops traffic, turns heads and makes monkeys out of guys like Neff, guys that think they got it knocked when all the time they're standing in quicksand and don't even know it till they're in up to their ears and gasping for that last breath. But that's the name of the game; Neff isn't the first guy to find his tiller on the wrong side of the mule because of a pretty face, moist lips and the sweet smell of perfume that sells it all like the siren's song, and he won't be the last to have the deal closed by promises of something that never will be and never has been, though it's victims are heaped along the side of the carefree highway like mounds of bark dust just waiting to be spread or lost in the wind.

Maybe that's not a pretty picture, but everything can't be a glossy print on Kodak paper, and you can take that to the bank because history's full of stories like this. Let's face it, Monet didn't have good eyesight, Van Gogh was down an ear and neither Mona nor her sister Lisa knew how to smile. And when a pair like Walter and Phyllis get together to cook a stew, there's always a Barton Keyes (Edward G. Robinson) waiting in the wings for them to screw up, take a wrong step or flash a tell that attracts a guy with a nose for fraud like a metal rod drawing lightening.

It takes some real `pros' to play the game at this level, and that's Wilder's team all right; but he needed some support to win this big, and he got it from the likes of Porter Hall (Mr. Jackson), Jean Heather (Lola), Tom Powers (Mr. Dietrichson) and Byron Barr (Nino). This film will give you the kind of ride a Six Flags park could only dream of, and that's what makes `Double Indemnity' one you're going to remember like a first kiss on a warm night in summer. 10/10.

📹 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. 📀