Noirvember: Double Indemnity

 SPOILERS

Insurance Salesman Walter Neff (Fred MacMurray), by chance goes to see one of clients about motor insurance but instead meets his intriguing and beautiful wife Phyllis. She plays the bored but concerned housewife trying to trick Walter into letting her sign accident insurance for her husband. Walter sees right through her plan and guesses murder. But already under her spell, infatuated the two begin an affair. Walter eventually comes round to the idea of murder and the two plan the would be perfect plot. When Phyllis' husband 'accidentally' falls from a slow-moving train and breaks his neck, at first no one is none the wiser until Walter's colleague, an investigator of claims, smells foul play. Soon the deadly couple's plan and feelings unravel. 

 

Although the film has very stereotypical elements of Film Noir, there are things that are slightly skewed. The lead male is not a detective or a useless drifter, he's an insurance salesman. The 'detective' role is Keyes, Walter's colleague who can sniff out any false insurance claim by listening to what he calls 'the little man' inside him. But although he knows something is wrong the $100,000 claim after thinking it over, he doesn't suspect for one moment his friend and colleague is involved. Unlike other Film Noir genre films, the story had a central friendship, Keyes and Neff. Unlike the be all and end all relationship of a man and a woman having an affair. The two friends, have some great exchanges and also alters the dynamics of the film. The little things make all the difference, such as the ongoing exchange where Neff always lights Keyes' cigars for him. These are welcomed. Especially as insurance is not the most exciting of settings.

 

It's not surprise that the film has some similarities to The Postman Always Rings Twice as the original novella was written by James M. Cain. As the film was made at the time of the damned Hayes Code, the original ending, double suicide, was cut. The ending that Billy Wilder planned involved Neff going to the gas chamber with Keyes watching but instead the film ended with the two men on the ground, Neff dying and Keyes lighting his cigarette for him, a gesture of friendship.

 

Of course, the story is really all about the femme fatale in this story, Barbara Stanwyck, she plays ice cold Phyllis who plays three women technically. The unwanted housewife, the lover and the sinister killer. She has the ability to be emotional and pretend to show love but in one quick stare, morph into a cold-hearted killer.

 

One of the most haunting images is in the opening credits. A lone man, on crutches, coupled with eery ominous music of impending violence sets the tone of the film, foreshadowing events to come. Double Indemnity is always listed as one of the greatest of its genre and it does indeed hold up against its contemporaries but there is something slightly lacking that even Stanwyck’s style just can’t quite measure up.

 

For more #noirvember, follow @little_sister_filmnoir

 

This was first posted as part of the Blind Spot Series 2015.

 

Blind Spot Series: Notorious

“There’s nothing like a love song.... to give you a good laugh”

A film’s reputation proceeds it, especially if it’s title is ‘Notorious’. Hitchcock’s thriller, spy romance starring two of the biggest stars at the time of its release, Cary Grant and Ingrid Bergman. Screened at Cinema Rediscovered before the film is re-released back on the big screens and as part of the BFI Cary Grant season, so if you've not seen it, now you get the chance to see the film how it was meant to be seen.

As the daughter of a convicted German war criminal, Alicia, is recruited by US government agent, Devlin, to infiltrate a group of her father’s comrades, particularly Alexander Sebastian, who used to have more than a crush on her. But as with most best laid plans, Alicia and Devlin fall in love, putting a strain on her mission and leaving him jealous. This is Hitchcock though so don’t expect the usual beats to this sort of film. Hitchcock knows how to build suspense as well where to put the camera and how to break the rules.

The film is famous for breaking the Hayes Code as it includes kissing, open mouthed for more than 3 seconds. I always remember this film as the ones where Ingrid Bergman and Cary Grant’s faces are stuck together for long periods of time, but luckily this film is more than what makes it, notorious.

Alicia is an unconventional leading lady, as she does what she wants, even drunk driving in the early hours. Her reputation proceeds her and doesn’t back down from a challenge. It insinuated on more than one occasion in the film that she’s been around, slept with a few men and for this reason she is right for her mission. But her keen eye and composure, even when drunk is not seen as an asset, except by Devlin. It’s refreshing to see a character like her drink and not care for the judgement put upon her and sacrifices none of her charm and elegance. Next to Grant’s Devlin, the epitomy of suave, they create a very beautiful couple which is remarked on in the film. But they also make an excellent spy couple but this might be us being blinded by their pairing. 

As well as the romance and thrills, there is the very welcome comedic element sliced in. Any time Sebastian’s mother hears that Alicia is in pain, her happy smirk is hard not to laugh at as the hatred is so obvious. Quips and witty comments are thrown out to also create a humorous atmosphere balancing the serious tone which is the main part of the film. With the film released back into cinemas, hopefully this will give a wider audience to experience this Hitchcock classic. 

#CinemaRedis19  

Blind Spot Series: Grand Hotel

Determinded to start this year well and in style, at least when it comes to the Blind Spot series, I've gone through my film collection and looked for the films I own and STILL not seen and that happen (in my opinion) to be classics that I need to watch and long over due. A bargain I found in 2017 while in Bristol finally had its day, Grand Hotel.

Originally placed on a previous list as one of the films that inspired Wes Anderson's Grand Hotel, this gem from 1932 directed by Edmund Goulding has a rather star studded cast playing an aray of characters that pass through the hotel in Berlin. A despressed famous dancer can't bring herself to go on stage, a Baron and gentleman thief is trying to steal pearls from the dancer and makes friends with an over worked book keeper who has found out he is dying and wants to live a good life before he goes, his employer, also staying at the hotel is trying to put together a merger that will save his business calls for a stenographer who in turn catches the eye of the baron, with a few other characters who appear through out such as the stressed porter who's wife is in labor at the hospital and the disfigured veteran doctor who comments at the start and the close of the film that nothing ever happens at the hotel. The famous line 'I want to be alone' originated in this film, said by Greta Garbo's dancer as she languishes in her hotel room about to take her own life, she is stopped by John Barrymore's thieving Baron who changes his mind about the pearls.

The intricate details of the hotel, with the guest rooms, dance and bar room and the fantastically designed lobby, that is in the center of the spiral of floors. It is grand in every sense of the word. The 360 degrees desk was designed so that the audience could view the action at any angle. A hotel is always a fascinating place to set a story as there is a story behind every door and quite the opposite to what the doctor says, so many things can happen in just a few days. Love, peace and murder are just a few things that take place in the Grand Hotel with vibrant characters to keep us entertained. There is beauty to found in 30s decor, costume and location, especially watching the film now.

The film inspired a remake in the 40s, this time transporting the hotel to New York. A second remake was in the work in 70s but never came to fruition. A story like this has a universal appeal but the setting in 30s Berlin captures the energy of the time and film itself. A film worth waiting to see.

To find out how it all started, head over to The Matinee and to see what's happening now, check out Returning Videotapes who is the new host of the Blind Spot Series.