***The first film in a monthly series of reviews that will look at the films Directed by Billy Wilder***
Austrian filmmaker Billy Wilder emigrated to the United States prior to World War II and instantly established himself as a Screenwriter to be noticed as he was nominated for screenwriting Oscars for NINOTCHKA (1939) and HOLD BACK THE DAWN (1941). He would then transition to the Director’s chair for THE MAJOR AND THE MINOR (1942) and would burst into the public consciousness in 1944 when he wrote and directed what some consider the quintessential Film Noir, DOUBLE INDEMNITY.
Co-written by Wilder and Raymond Chandler (known for hard-boiled Detective Fiction like THE BIG SLEEP), DOUBLE INDEMNITY tells the tell of a femme fatale played by Barbara Stanwyck who convinces an Insurance Salesman played by Fred McMurray to kill her husband for the $50,000 Insurance money that pays our 2x with the DOUBLE INDEMINTY clause.
As Written and Directed by Wilder, Double Indemnity has all the earmarks of a classic film noir (that were all the rage in the 1940s) - stilted narration, dark alleys, quick talking, a dame that was no good and a sap just dumb enough to fall for what the dame is selling. And…in this film…Wilder hits all of these notes perfectly, directing his actors to career defining performances while keeping the action hard-boiled and the suspense taught.
For those of you who don’t know Barbara Stanwyck (or for those, like me, only know her from her TV appearances in the 1960’s, ‘70’s and early ‘80’s), Stanwyck was the highest paid actress in Hollywood at the time and was rivaled as a Leading Lady by only Bette Davis and Katherine Hepburn, so it was quite the coup for Wilder to land her in the lead role of Phyllis Dietrichson and she knocks it out of the park (despite being saddled with a really bad wig). It’s a wonder that Stanwyck was concerned about what this part would do to her reputation, for all it did was further ensconce her as a “tough broad” actress who was not to be messed with.
As for McMurray, he was better known for “nice guy” parts at this point in his career (a tone he would return to as fatherly Steve Douglas in the MY THREE SONS TV series of the 1960’s-early ‘70’s, as well as Disney films like the ABSENT MINDED PROFESSOR), but Double Indemnity would type-cast McMurray as the un-feeling, un-caring cad in many, many films for years to come as he plays the role of Insurance Salesman Walter Neff with unflinching focus and is perfectly cast as the ill-fated cad of the piece.
The duo are nicely balanced by the biggest surprise in this film - the GREAT, nuanced and COMIC performance by Edward G. Robinson as the Insurance Claims Adjuster who is hot on the trail of the murderous duo. It is a refreshing change to see Robinson as someone other than the mobster/villain and he is funny and effective delivering the rapid-fire dialogue that is the hallmark of these films.
Wilder, rightfully so, was nominated for Directing and Writing Oscars (he would share writing credit with Chandler in a partnership that was not a happy one and would last for only this film) as well as Stanwyck (who was nominated for an Oscar for Best Actress) and the film being nominated for Best Picture - amongst the 7 Oscar nominations it received. Surprisingly, neither McMurray (Lead Actor ) or, especially Robinson (Supporting Actor) would NOT be nominated. Alas, this film would win ZERO Oscars as GOING MY WAY would walk off with an armload that year.
A great way to introduce yourself to Billy Wilder - and to Film Noir - DOUBLE INDEMNITY holds up as a mystery/thriller even though the sexual politics of the time are very, very dated. This can be forgiven (or at least put into context of the time) thanks in large part to the performances of the 3 leads, and the smart, sharp Directing of Wilder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
NEXT MONTH: Perturbed by the drinking of Writer Raymond Chandler on the set of DOUBLE INDEMNITY, Wilder would explore alcoholism in the Oscar Winning THE LOST WEEKEND (1945).
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