🎦 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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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.

This film is not a timeless epic, it has aged badly. One whom describes it as a must for film-noir fans is probably doing so for all the wrong reasons. Sure, it has a snappy dialogue, the dame is desirable, the hero both lovable due to his sentimentalism, and exciting due to his high intelligence, the narration is very well done. The acting is not, contrary to popular opinion, that good. The main characters were not so hot, the best piece of acting was actually the portrayal of Keys, his character was almost Holmes-esque. The plot is very generic. Of course, this film may well have been one of the first to carry out such a plot, it may have been a real trend-setter, but I'm sorry that doesn't make it a classic by any stretch of the imagination. Regardless of how it received and how influential it was, it is not a great in its own genre. I adore film-noir and found this a let down.
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")
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.
Everything That Makes For A Great, Timeless Film Noir
The classic "Double Indemnity" is one of the greatest of all "film noir" movies, and it has everything you could ask for: great acting, interesting characters, an imaginative plot, and lots of tension. Put all this under the direction of the incomparable Billy Wilder, and it's one of the best films of all time.

The three lead actors all give terrific performances. Fred MacMurray is at the center of everything, as an insurance salesman tempted in more than one way by an alluring customer (Barbara Stanwyck). MacMurray's character is torn between what Stanwyck offers, and his close relationship with his company's claims manager, played by Edward G. Robinson. MacMurray is excellent in portraying his struggle between his desire to grab the illicit pleasures offered by Stanwyck, and his deep admiration for Robinson as a person and as an example. Stanwyck in turn is perfect in her role as a woman who uses everything she has to get what she wants. Robinson's performance may be the best of all in bringing his character to life - a straight-arrow, perceptive and diligent worker who also comes across as a thoroughly enjoyable character.

The three leads are so good that the film gets away with some occasionally dated (overly "hard-boiled") dialogue in some of the voice-overs and confrontation scenes. The actors were in such good form, though, that they were able to make any line sound pretty good.

The rest of the cast all have much smaller parts, but they all fulfill their functions well, especially Porter Hall in one of his many fine character roles, and Richard Gaines, who is perfect as a clueless insurance company executive.

Wilder uses his skilled touch to complete the atmosphere of intrigue and suspense. The overall result is a great film noir whose characters and tensions are as alive today as they were in the 40's. It is worth watching over and over.

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.
film noir
It was interesting watching this movie having already seen so many movies that clearly used this as source material. The fast talking, witty dialogue, woman with a money making scheme, and the use of romance/feminine wiles to achieve those means are all things that became the cornerstone of film noir. It's easy to see why this movie had such an impact given how perfectly each was executed. It was interesting to watch their so called perfect scheme unfurl bit by bit, especially in regards to how the characters reacted to this.

The only thing that I wish is that I had gotten a little more invested in the romance and the characters themselves. Some later film noir films really nailed making me care about the plot through the eyes of the characters, which is my favorite approach to film. That is just my personal preferences though, and setting that aside, this was an incredibly well constructed film.
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!
A Noir Classic
Author James M. Cain virtually created a new genre with his extra-tough, sin-blackened, and sex-drenched novels--and they were so successful with the public that not even 1940s Hollywood could resist. The result was three of the most famous films of that decade: MILDRED PIERCE, THE POSTMAN ALWAYS RINGS TWICE, and DOUBLE INDEMNITY. Although POSTMAN is probably the better film, INDEMNITY is the most famous--possibly due to the story's truly psychotic edge, which is given full life by Barbara Stanwyck in one of her most celebrated performances.

Like POSTMAN, INDEMNITY offers the story of a married woman who plots with her lover to murder her husband. Given MacMurray's typically "good guy" image, I didn't expect to believe him in the role of Walter Neff in the role of skirt-hungry Walter Neff--but MacMurray's performance is exceptionally good here, and all the more effective because it so completely unexpected. But while MacMurray has most of the screen time, it is really Stanwyck and Edward G. Robinson who dominate the film. Stanwyck is truly memorable here, and gives us a woman who seems at once sexed-up and completely frigid, at once completely natural and absolutely artificial. It is a remarkable and often disturbing effect. Robinson, who endured decades of type-casting, is equally good as the blustery, slightly comic, and absolutely honest insurance man whose job it is to ferret out suspicious claims; it is largely due to his performance, which gives the film a moral center, that we are able to buy into the otherwise off-beat performances that drive the action.

This was one of director Billy Wilder's first major hits, and he deserves considerable credit for making the weird elements of the story work as a whole, keeping the film smartly paced, and heaping it up with atmosphere. So influential that its impact would be difficult to over-estimate, DOUBLE INDEMNITY is a touchstone for the entire film noir genre. Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer
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.
📹 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. 📀