🎦 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 Superb Noir Film
If you are a noir fan then this film is an absolute must see. The screenplay itself is a work of art in its charater construction, plot structure and dialogue which is delievered 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 delievers 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 eventhough the Academy didn't see it fit to reward him for his efforts, however I personally think this film is an absolute winner.
The Walk of a Dead Man
In 1938, the experienced salesman of the Pacific All Risk Insurance Co. Walter Neff (Fred MacMurray) meets the seductive wife of one of his client, Phyllis Dietrichson (Barbara Stanwick), and they have an affair. Phyllis proposes to kill her husband Dietrichson (Tom Powers) to receive the prize of an accident insurance policy and Walter plots a scheme to receive twice the amount based on a double indemnity clause. When Mr. Dietrichson is found dead on the trails of a train, the police accepts the evidence of accidental death. However, the insurance analyst and Walter's best friend Barton Keyes (Edward G. Robinson) does not buy the version and suspects that Phyllis has murdered her husband with the help of another man.

In my opinion, Billy Wilder was the greatest director of Hollywood ever, directing many masterpieces including "Double Indemnity" among them. This is the second time that I see this magnificent film-noir, now on DVD recently released in Brazil (the first time was in the cable television, since this masterpiece has never been released on VHS in my country). The story and screenplay are stunning, disclosing a sordid story of lust, love, greed and betrayal. Fred MacMurray, Barbara Stanwick and Edward G. Robinson have magnificent performances. The cinematography is simply spectacular, with an awesome use of lights and shadows and the music score completes one of the best movies Hollywood has ever produced. My vote is ten.

Title (Brazil): "Pacto de Sangue" ("Pact of Blood")
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!
Do you drive a new Cadillac to appear inconspicuous at crime scene
Everyone knows this film and everyone loves it.

I tried to observe some flaws if there are any in it. The actress playing the daughter looked too old for the role. Stanwyck was 37 when this was made and Mc Murray was 36.

I agree with the reviewer who stated Mc Murray's later roles in TV sit coms and so forth tainted his image. It's true it was hard to take him seriously.

A new Cadillac driving around the rail road tracks might attract some notice especially in 1939 (the year this is supposed to take place).

Also you have to suspend disbelief that Mc Murray would be so smitten by Stanwyck he would attempt anything like this. She is not especially at 37 (or any age!) the most attractive woman in the world. The blond wig? I guess was supposed to make her look ?? maybe cheap or tainted. She can carry any role though plouging through it like a bulldozer.

But these are so minor. I loved the movie watch it and read the other reviews.

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!
Simply brilliant
I'm not sure I can think of any new original praise for this film. All I can say is that the suspenseful twists and turns of the the classic film-noir plot and the moral ambiguity of Walter and Phyliss brought to life by truly memorable performances by MacMurray and Stanwyck (and Robinson in his key supporting role as Keys) left an indelible mark on my cinema mad mind even before I had become aware of the film's deserved legendary reputation. When I think of this film, I think of Proverbs 5:3-5 For the lips of a strange woman drop as an honeycomb, and her mouth is smoother than oil. But her end is bitter as wormwood, sharp as a two-edged sword. Her feet go down to death; her steps take hold on hell.
The ultimate noir
"Double Indemnity" is a 1944 film directed by Billy Wilder, and it's a classic. The plot has been around forever - a beautiful woman seduces a man because she wants him to help kill her husband. What Wilder does with it demonstrates his mastery.

Wilder's genius starts with the casting of Fred MacMurray, Everyman if there ever was one, as Walter, an insurance man. A boring profession and what appears to be an ordinary, albeit attractive man who is also a good salesman. Barbara Stanwyck is Phyllis, the femme fatale. Blonde with a beautiful figure, an icy, challenging manner, and a seductive voice. Edward G. Robinson is Keyes, the insurance investigator and good friend of Walter's. Dogged yet warm as he follows clues to what he believes is a murder and not an accident.

There's nothing tender about the MacMurray-Stanwyck love affair, and Stanwyck delivers her lines in a cold, calculating way - the same way she does the love scenes. Walter comes off as fresh at first - what salesman would flirt with a married woman as obviously as he does - but he probably realizes when Phyllis appears wrapped in a towel that she probably wants him to. There's nothing spontaneous about Phyllis asking about life insurance for her husband; it's been on her mind since Walter showed up to renew the car insurance. The minute she says she doesn't want her husband to know about it, Walter knows what she's up to. Though their plan is brilliant, Keyes is smarter than they realize.

I love the way it's introduced into the plot that Phyllis was the first Mrs. Diedrickson's nurse and that Lola, Phyllis' stepdaughter, suspects Phyllis hurried her mother's death along. I also love Walter's cold feet as he becomes interested in Lola - but it's too late.

"Double Indemnity" can only be described as compelling - it's not action-packed but there isn't a wasted or slow second. Stanwyck, who could be a very likable actress, plays a real conniver, and she does so brilliantly. MacMurray gives a relaxed performance - he's actually perfect casting, as one can see how easily he gets sucked into Phyllis' plan. Edward G. Robinson is the film's anchor as Keyes, who is like a father to Walter but also a man who takes his job very seriously. He's determined to get to the truth of the case, and every word he says is like chalk on a blackboard to the guilty Walter.

Wilder's brilliant direction and pacing shows in every frame, and the surprise ending is the icing on the cake. A great noir, a dream cast, a great director, Hollywood at its very best.
Superb - a film-noir classic
Walter Neff is an insurance salesman for Pacific All Risk Insurance Company. He falls for Phyllis Dietrichson, the wife of a client of his, and is drawn into a plan to kill Mr. Dietrichson and pocket the insurance money. Between the two of them they come up with the perfect murder, so good it not only looks like an accident, but ensures that the insurance pays out double the usual sum insured - double indemnity. Between them and the money stands Barton Keyes, Pacific Insurance's Head of Claims. Experienced, wily and possessing a sixth sense for claims fraud he is a formidable adversary...

Brilliant crime drama - a film-noir classic. Written by Raymond Chandler book and directed by master-director Billy Wilder, this is great on so many levels: the clever plot (especially the murder plan, which is so good you almost want them to succeed); the snappy, often funny, dialogue and the excellent, engaging performances. Moreover, there's a smoothness and coolness about this, a hallmark of film noir.

Only things missing from making this one of the greatest movies of all times is a good twist and possibly less predictability. The use of flashbacks to tell the story sort of gives away the direction the plot is taking.

Good work by Fred MacMurray as Neff, Barbara Stanwyck as Phyllis and Edward G Robinson as Keyes. In hindsight, Humphrey Bogart would have made a better Neff, but then you could say that about any 1940s role requiring a cool, tough, smooth-talking, wise-cracking male lead. Fred MacMurray does well and doesn't really put a foot wrong, but I kept thinking "Imagine Bogie in the role...".

Barbara Stanwyck got a well-deserved Best Leading Actress Oscar nomination for playing Phyllis.

The film itself garnered seven Oscar nominations but no wins, losing out on Best Picture to Going My Way, the so-so musical starring Bing Crosby. Billy Wilder got his first Best Director nomination and fourth writing nomination for Double Indemnity. He would have to wait for his next movie, The Lost Weekend, for his first win.
one not to miss!
people who best remember fred macmurray from my three sons will certainly be caught off guard wiith this classic james m. cain film noir flick. macmurray plays a cool, sleazy, somewhat desperate conniving dupe, while barbara stanwyck plays the femme fatale, and edward g. robinson does a fine job in a somewhat subdued role. a must see!
No Woman, No Money
There have been so many reviews of this classic and much imitated "film noir" creation, I am tempted to review at least some of the reviews rather than the film, but I won't.

If the script is "silly and laughable", as one recent reviewer seriously contends, then the laugh is on the reviewer because some of the dialogue was written deliberately to be comical in places, especially if lines repeatedly begin with the word "suppose". To the contrary, I found the script, written by the director himself and Raymond Chandler, to be very snappy, especially as they were so skillfully brought to life by three of the best in the business, Stanwyck, Robinson, and MacMurray, in no special order. I especially enjoyed Mr. Robinson's bursting soliloquies that underlined his character's extensive knowledge of the risks of the insurance business. Who else could have succeeded in this endeavor so well?

As much as I enjoyed the three wonderful lead actors, I also appreciated all of the meticulous details of the director, Billy Wilder, including minor but memorable characters such as the elevator man ("They wouldn't sell me a policy..."), Netty, the Dietrickson's maid ("They keep the liquor closet locked up." If I were in the employ of this unhappy and unlikable couple, I would need an occasional nip myself.), Mr. Jackson, the witness ("I'm a Medford Man--Medford, Oregon."), and Nino Zachetti, the angry young man who bitterly resents how he has been cheated by society but may never realize how truly lucky he is. Even the scenes in the food market allowed us an authentic glimpse of everyday life in wartime 1944 Los Angeles, revealing, among other tidbits, that farina packages haven't changed very much in 72 years.

The film unfolds in a series of flashbacks with periodic breaks in "present time", including the beginning and the end. As Barton Keyes suggests at one point, the film itself is very neatly "wrapped up in tissue paper...pink ribbons on it." Unlike many other movies of its "noir" genre, it is relatively easy to follow without distracting us with unnecessarily convoluted plots that we didn't have to struggle to understand in the first place.

Neff's questionable character is revealed from the start as he has no qualms about destroying a marriage and a family until the presence of Lola, Dietrichson's daughter, challenges his conscience. His fatherly relationship with Lola and then his compassionate assistance to Zachetti, her boyfriend, demonstrates that Neff isn't completely morally depraved as much as he is weak in the face of temptation. Regardless of how disagreeable Dietricksen, his victim, is, Neff can't redeem himself from his crime by being nice to Lola and Zachetti. It is not an even exchange. This exercise in portraying a repentant, moral weakling is refined by the actor a decade later in MacMurray's role of Lt. Tom Keefer in "The Caine Mutiny". Then, MacMurray takes immorality to a new level six years after that in "The Apartment"' as the shamelessly dishonest Jeff Sheldrake, who is totally void of introspection. For those who only know MacMurray as the father in the television series "My Three Sons", you ain't seen nuthin' yet!

Although I was fully absorbed in the action, Neff's ability under extraordinary pressure to get Jackson out of the observation car just in the nick of time seemed improbable to me. Didn't he and Phyllis consider the possibility that someone would be out there who was unwilling or even incapable of leaving on time? And wouldn't the coroner have established early that Dietricksen was the victim of strangulation rather than accidental death? I'll leave it to you to decide. And did Phyllis actually undergo a "change of heart" just before she was able to fire a second shot? Should it make a difference to us by then? I think not. Nothing could ever redeem this despicable woman--or that wig.
See Also
📹 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. 📀