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Double Indemnity is a film noir crime drama directed by Billy Wilder, co- written by Wilder Keyes tells Neff of his theory outside Neff's apartment, while Phyllis hides behind the door. Keyes soon . The tumultuous relationship between Wilder and Chandler only enhanced the product of their collaboration. Wilder, in fact. Barbara Stanwyck and Fred MacMurray in Double Indemnity () "Double silent film star's script, only to find himself developing a dangerous relationship. . However, the insurance analyst and Walter's best friend Barton Keyes does not Quotes. [first lines] Building attendant: Well, hello there, Mr. Neff. See more ». A description of tropes appearing in Double Indemnity. plot, but it serves to thoroughly introduce Keyes, his methods, his quirks, and his relationship to Neff.
A few scenes of Phyllis and Neff alone together, such as when Phyllis stays at Walter's apartment and when Walter confronts her in the Dietrichson living room. There is no single accomplice that she doesn't plan to eventually turn on.
Keyes has a cigar in his mouth by the end of nearly every scene he is in. Dietrichson just so happening to injure his leg and subsequently failing to file a claim under the insurance policy he didn't know he had is what leads to Keyes Spotting the Thread.
The film's co-screenwriter, Raymond Chandlerappears briefly in one scene. Danger Takes a Backseat: Justified in that Phyllis, the driver, is part of the murder plot and Walter is hiding back there to kill the passenger. Walter and Phyllis plan to kill Mr.
Dietrichson and run away together.
Double Indemnity (1944)
How Phyllis meets her end. Used as part of the murder scheme. Neff and Keyes both do plenty of snarking. Walter and Phyllis exchange many of these.
Obviously given that it stars a Villain Protagonist during the height of the Hays Code. Keyes' introductory scene, in which he tears apart a guy trying to claim insurance on his truck by revealing that the man had set fire to it himself.
The scene is irrelevant to the plot, but it serves to thoroughly introduce Keyes, his methods, his quirks, and his relationship to Neff.
Double Indemnity (Film) - TV Tropes
Literally; Phyllis not only kills her husband and his first wife, but shoots Walter. Neff's recounting of the story into the dictaphone.
A great example of this is the classic film noir film Double Indemnity, written by Wilder and Raymond Chandler [their relationship is a whole other story]. Wilder wrote and shot an ending scene in which the Protagonist Walter Neff Fred MacMurray is put to death in a gas chamber. These are the only known photos of that scene: Despite the considerable cost of shooting the scene, he cut it. Which has left us with this final scene: Robinsoncapped by the payoff to the lighting-the-match runner.
One takeaway for writers and filmmakers: Sometimes the best path is to explore our characters at such depth that we give them room to do their thing. Always good to remember this is Job Number One whenever we write a story. But that is the easy way out. Even if we write in one genre, we should challenge ourselves to approach tropes and memes, and even those aspects of our writing that work, and push to find new ways to use them in telling a story.
I would never use this advice during prep or writing early drafts. That is primarily a journey of discovery, finding the story, and the process is rife with decisions and passes that prove to be unfruitful, but in the end, we will have needed to go through all that to land on the story we want and need to tell. This is notable because, other than a snippet from a home movie, there is no other footage of Chandler known anywhere. As Wilder noted, "He was in Alcoholics Anonymous, and I think he had a tough time with me — I drove him back into drinking He was under the table drunk at Lucy's," a nearby watering hole for Paramount employees.
This relationship with Chandler is what drew Wilder to his next project, the Best Picture-winning The Lost Weekendabout an alcoholic writer. Wilder made the film, in part, "to explain Chandler to himself. After seeing the picture half a dozen times he was quoted as saying, " It's the only picture I ever saw made from my books that had things in it I wish I had thought of.
Wilder's ending was much better than my ending, and his device for letting the guy tell the story by taking out the office dictating machine — I would have done it if I had thought of it.
Years later Wilder would characterize their time apart as just another kind of adultery: I wrote Double Indemnity with Raymond Chandler I don't think he ever forgave me. He always thought I cheated on him with Raymond Chandler. They worked together through Sunset Boulevard inthen split for good. This volume also includes the aforementioned "Writers in Hollywood" piece by Chandler.
Casting[ edit ] Wilder chose a bad wig for Stanwyck to underscore Phyllis's "sleazy phoniness". Having the two protagonists mortally wound each other was one of the key factors in gaining Hays Office approval for the script: In addition, Double Indemnity broke new cinematic ground on several fronts, one of those being the first time a Hollywood film explicitly explored the means, motives, and opportunity of committing a murder.
At the time, Stanwyck was not only the highest-paid actress in Hollywood, but the highest-paid woman in America. According to Stanwyck, I said, "I love the script and I love you, but I am a little afraid after all these years of playing heroines to go into an out-and-out killer.
Wilder — and rightly so — looked at me and he said, "Well, are you a mouse or an actress?
Double Indemnity Quotes
And I did and I'm very grateful to him. Raft was illiterate, so Wilder had to tell him the plot.
- Conversations With Billy Wilder
About halfway through, Raft interrupted him with, "Let's get to the lapel bit. MacMurray felt safe about his acquiescence since Paramount, who had him under contract and had carefully crafted his good guy image, would never let him play a "wrong" role.
Paramount executives decided to let him play the unsavory role to teach him a lesson. A lesson was indeed taught, but not the one Paramount had in mind. Robinson was also reluctant to sign on for the role of Barton Keyes, but not for the same reasons as MacMurray and Stanwyck. Having been a star since Little Caesar inthis role represented a step downward to the third lead. Robinson would later admit, "At my age, it was time to begin thinking of character roles, to slide into middle and old age with the same grace as that marvelous actor Lewis Stone ".