Double Indemnity (dir. Billy Wilder 1944) is a film about an insurance sales man Walter Neff (Fred MacMurray) that falls for a highly sexual, scandalous woman, Phyllis Dietrichson (Barbara Stanwyck) who attempts to kill her husband. Even though Walter dismisses Phyllis attempt to purchase life insurance policy for her husband; he is unable to stay away from Phyllis for long. In the time they spend together, Walter and Phyllis try to hatch a fool-proof plan to get rid of her husband and get a double indemnity from the insurance company. Walter Neff boss Barton Keyes (Edward G. Robinson) is a man of skill and knowledge, and has been working in the same job for twenty-six years, and has always been able to tell who is a cheater and who is an honest man. Barton ability to tell who is being honest by consulted the ‘little man’, and does so throughout the film. Walter later finds out that Phyllis has been involved in another ‘accident’ prior to her involvement with her husband Mr. Dietrichson (Tom Powers).When both Walter and Phyllis are about to be found out by Barton, Phyllis attempts to kill Walter and escape with the cash. The scene in which both Barton and Walter are together in the office and are later in the hallway in which the male characters Walter and Barton both find themselves together on the ground highlights and suggest gender noir in the film. The film Double Indemnity uses the stylistic qualities of film noir to illustrate the homo-erotic relationship between Barton and Walter with the use of lights, shadows, and oneiric qualities which also suggest and emphasize the importance power of gender in noir. Janey Place and Lowell Peterson article “Some Visual Motifs of Film Noir” establishes noir as a visual style and not a ... ... middle of paper ... ... he saw. The relationship with Phyllis was unstable and vile. After Phyllis is gone, the power over Walter is also gone, and he goes to ask for forgiveness for his love, Barton. Walter makes this argument clear when he confesses to Barton “You know why you couldn’t figure this one Keyes, I’ll tell ya, it’s because the guy you were looking for was too close, right across the desk from you.” and Barton replies by saying “Closer than that Watler” In the final words Walter reveals how he truly feels about Barton “I love you too”. The relationship between Walter and Barton cannot be denied. The light, sound, and camera angle all imply a closeness of the male characters. The final shot has Walter trying to light a cigarette, in which Barton light it for him is the final act of relief, in which they both share together before the film end and the screen fades out to black.
Double Indemnity is a film noir directed by Billy Wilder and was released in 1944. The film follows Walter Neff (Fred MacMurray), an insurance salesman, and Phyllis Dietrichson (Barbara Stanwyck), a housewife who is unhappy with her marriage, as they carry out a plan to kill Phyllis’ husband, set it up as an accident, and collect $100,000 worth of insurance money to keep for themselves. While many viewers would say the primary relationship in the film is between Walter and Phyllis, there is a unique, less-obvious relationship between Walter and his boss, Barton Keyes (Edward G. Robinson). Throughout the film they have peculiar conversations, light one another’s cigarettes, and share a heartfelt breakup at the end of the film. The relationship
Film Noir is a genre of distinct and unique characteristics. Mostly prominent in the 40s and 50s, the genre rarely skewed from the skeletal plot to which all Film Noir pictures follow. The most famous of these films is The Big Sleep (1946) directed by Howard Hawks. This film is the go to when it comes to all the genre’s clichés. This formula for film is so well known and deeply understood that it is often a target for satire. This is what the Coen brothers did with 1998’s The Big Lebowski. This film follows to the T what Film Noir stands for.
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
First and foremost, film noir refers to the visual style of a picture. The imagery of film noir was influenced by early 20th century German expressionism, featuring distorted, sinister shapes and shadows. These precursors to film noir used abstract figures and looming shadows for bizarre, emotionally stirring results. Techniques such as chiaroscuro were used to give a dark and minimalistic feeling. In many cases lighting is limited to a single harsh light source, which obscures the image, and even throws shadows across actors’ faces. These elements ensure that an audience regards the actors and the setting with equal importance. Oblique angled shots permeate many film noirs, naturally provoking anxiousness and apprehension in the viewer. In Sun...
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
This scene shows the importance of money to Walter Lee. Here he is trying to guilt his mother into giving him the money by pointing out things that the family has to settle with. For example, he tells Lena that she will have to tell that to his son he is pointing out that Travis sleeps on the couch and does not have an actual bed of his own. He talks about how his wife Ruth has to watch someone else’s kids for money instea...
Roman Polanski's 1974 film, 'Chinatown', revolutionized the film noir genre. Aside from the absense of voice-over, the film shares all the same characteristics with earlier noirs. That is, of course, except for the fact that ?Chinatown? is filmed in color. Because of this, it is more difficult upon the first viewing to immediately classify the movie to this genre. In movies such as ?Double Indemnity? even scenes that take place during the daytime are dark, and since it is a black and white film, this is easy to do. However, in a film with color it is much harder to create this dark effect, especially in scenes that are filmed outdoors. Polanski makes references to symbols that remind the audience that although ?Chinatown? is in color, it still belongs in the genre. For example, one of the first lines in the movie is, ?I just had [the venetian blinds] installed on Wednesday.? Venetian blinds are often seen in the genre, and the reference immediately makes the connection between this...
Film Noir dates back to the 1940s right after World War I. The French were the first to come out with the movie category, after viewing a number of America’s movies. The French noticed that something was different about these movies than any of the movies America had made before. They were very dark and mysterious. In the book Fatalism in America: Film Noir, Robert Pippin describes film noir as being in grim urban settings, gloomy, and almost always about crime. He also says that they can have “almost unfollowable plots (Pippin 6).” Film noir is also often about fate, and gambling can often times be associated with it. Pippin states “That is one way of dealing with the perceived
To start off, Walter’s obsession with money is going to cost him a lot since it is the only thing he cares about. In the beginning, Walter starts out by only caring only about himself, but towards the end, he starts to care for everyone else as well. This shows that Walter is a selfish person. As Walter Lee states to Ruth, “Yeah. You see, this little liquor store we got in mind cost seventy-five thousand and we figured the initial investment on the place be ‘bout thirty thousand, see” is the dream that Walter Lee has for himself (Hansberry 33). Walter wants the money that the Younger family is getting from the insurance company to buy the liquor store. He thinks that the liquor store will make them rich and the family would not have to struggle anymore. At the end, Walter changes his whole point of view towards the insurance money. Walter declares to Mr....
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
Film Noir was extremely trendy during the 1940’s. People were captivated by the way it expresses a mood of disillusionment and indistinctness between good and evil. Film Noir have key elements; crime, mystery, an anti-hero, femme fatale, and chiaroscuro lighting and camera angles. The Maltese Falcon is an example of film noir because of the usage of camera angles, lighting and ominous settings, as well as sinister characters as Samuel Spade, the anti-hero on a quest for meaning, who encounters the death of his partner but does not show any signs of remorse but instead for his greed for riches.
Even though the modern era has produced new forms of expression, movies and television still rely on timeless literary styles. The gothic plays a particularly strong role. In fact, UC Berkeley professor Dr. Jones criticizes, “film, as a medium born with the twentieth century, is both a latecomer to and an avid, unabashed plagiarizer of earlier literary forms of the Gothic.” A modern audience might associate gothic with a moody teenager clad in black and full of angst. However, Lilia Melani from the English Department of Brooklyn College defines what a work needs to be considered gothic. It must showcase “its remote setting, its use of the supernatural, and its medieval trappings, all of which have been so frequently imitated and so poorly imitated
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.