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Buy Double Indemnity 1944 Movie Online 1080p, 720p, BRrip and MOV
Year:
1944
Country:
USA
Genre:
Crime, Drama, Thriller, Film-Noir
IMDB rating:
8.4
Director:
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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Reviews
Anytime You Want A Husband Turned Into Cold Cash
Billy Wilder's cynical self came to public attention in this classic noir film about a luckless insurance salesman and one coldhearted dame. Double Indemnity skirted the very edges of Code morality and it took years before someone brought James M. Cain's novel to the screen.

According to a book on Billy Wilder the casting of Barbara Stanwyck was a must for Phyllis Dietrichson, otherwise the film might never have been made. Barbara Stanwyck was that rarest of players, one who could be good and convincing in all kinds of parts. Look at the films she got her four Oscar nominations besides Double Indemnity, Stella Dallas, Ball of Fire, and Sorry Wrong Number. Not one of those is similar to any one of the others and Stanwyck was acclaimed in all of them.

Fortunately for Wilder and for Paramount's budget, their leading man was right on the lot. Fred MacMurray who has been playing comedic foils for folks like Carole Lombard, Claudette Colbert, etc. up to that time, made the most of playing the feckless Walter Neff who gets sucked into a homicidal scheme through passion.

Double Indemnity is a landmark film in that it's two leads are really rotten people. Barbara Stanwyck has a husband in Tom Powers she can't stand and would like to bump him off for an insurance settlement and MacMurray's the insurance salesman she beguiles into her plot. Funny thing is that when the mechanics of the murder plot are discussed and formulated, the ideas are all MacMurray's.

Billy Wilder made two other films similar to Double Indemnity where a weak protagonist gets caught up in a filthy scheme. In Sunset Boulevard William Holden plays the gigolo way to well and can't break from unto pain of death. And Kirk Douglas's scheme about exploiting the tragedy of a man trapped in a cave brings him down all the way in Ace in the Hole. I'd be hard pressed to say which of the three men was worse.

The man who brings them down is Edward G. Robinson, the claims investigator in the insurance office where MacMurray works. Robinson is gradually putting the whole thing together and Wilder is at his best with the scenes of Robinson explaining the progress of his investigation to MacMurray with Fred trying to stay one step ahead.

Robinson doesn't usually get enough praise for Double Indemnity. He's got a little man, Hercule Poirot has those little grey cells. Either way both are up to the challenge of solving what looks like a perfect crime. Lot's of Agatha Christie's Belgian sleuth in James M. Cain's Barton Keyes.

Wilder for the one and only time in his career worked with another great mystery writer in Raymond Chandler on the script. It was not a pleasant experience for either. Chandler complained about the working conditions of Hollywood and Wilder complained about Chandler's dissipation. Both were probably right.

Among the supporting cast look for a nice performance by Porter Hall who turns out not to be as valuable witness as Robinson originally thought. The man from Medford may not lie, but he's not above a little chiseling.

Double Indemnity is one eternal classic it will be studied and dissected by film students for centuries.
2006-12-16
"Double Indemnity" has all the makings of a great film
There are many ideas out there on what constitutes a great film. Many would say a great film—in other words, art—is not necessarily an entertainment piece, but a movie which makes comments about life and pushes the audience to do some thinking even when the screening has ended. Personally, I've never stood with the idea that all great films are merely absorbing and never entertaining. That silly idea that films are intellectual stimulants and movies are just trash pumped up in a way that comes across as giddy. Although I do agree that many great films probe the audience to think, one of my solutions is this: when I finish the screening, I sit there afterward and tell myself that there was nothing else I would have rather done in those two hours. That sensation swelled me when I finished watching "Double Indemnity" for the first time about a year ago, and it has returned with me every time I have seen it since.

This marvelous film-noir, directed by Billy Wilder, shoves a dagger into the idea that art cannot be entertaining, only observable. Now "Double Indemnity" does not make its central plot—a salesman co-opting with an unhappy housewife to murder her husband for a $100,000 insurance clause—into something exciting—something people might want to try out at home. In fact, as the movie progresses toward its third act and the two murderers start to lose their grip on what's happening, it poignantly resolves the seemingly tired idea that crime doesn't pay. But there is a certain level of joy to be had from this film. Most of it comes from the brilliant performance of Edward G. Robinson as a comically brilliant claims manager on to the big scheme, and the rest of it comes from the way director Billy Wilder brings tremendous energy out of a leisurely paced story.

As much as I've enjoyed his lighthearted performances, I had always felt that Fred MacMurray was capable of putting darker edges on himself. "Double Indemnity" does not give him the coldblooded meanness I always felt he could play effectively, but it brings him somewhat close to that level. A man who is more clever and intelligent than he appears (not just a dumb salesman, although he does allow femme fatale Barbara Stanwyck to manipulate him), not afraid to undergo any task he puts before himself. But what is also brilliant about MacMurray's performance is the way he gets us the care. That is tricky. The character is a murderer; he planned it out; he arranged it. The movie does not condone his crime, even though his victim is hardly the world's nicest guy. And yet the audience follows MacMurray's story with a certain affection for him, and by the end, much to our shock, we actually sort of wish that he might be allowed to dodge the authorities. Or at least escape the gas chamber. The screenplay by Billy Wilder and novelist Raymond Chandler provides the motivation, the dialogue, and the drama, but MacMurray rounds it off with an easygoing, effortless shine of a performance. I do not know of Fred MacMurray was the sort of actor who took methods and concentration to a deep level, but he was one of those talents who made good acting look easy.

I give MacMurray special attention, for I feel even the film's greatest admirers have more or less taken his work for granted. I do not by any mean wish to demean Barbara Stanywck's performance. She, too, is excellent. I'll go even further and say this is one of the best villains ever put on-screen. At one point, she looks up at MacMurray, we see the white in her eyes as she smiles, and shivers always run down my spine. I do not begrudge her, it is just that everybody mentions her character first of all when discussing the acting of "Double Indemnity." The movie's got three great performances, and the third goes to Edward G. Robinson, once again, as that eccentric claims manager. Robinson provides most of the movie's bits of comic relief, such as when he stands up to his own boss during a claims dispute, sides with the victim, and goes on a rant about "six volumes of suicide" and "suicide by poisons, subdivided by types of poison" and so forth. Robinson is the straight-shooter of the story, and his dynamic with the MacMurray character is a very fascinating sort of friendship. MacMurray even says "I love you, too." Today, we might take that as some sort of homoerotic subtext. Ignoring the fact that that was utterly forbidden in 1944 films, "Double Indemnity" plays it as a strong friendship. So as the movie progresses, the audience again starts to feel empathy, this time for how Robinson might react when he finds out his best salesman is a murderer.

"Double Indemnity" has all the makings of a great film. The photography is rich and wonderful (the Venetian blinds are used at their ultimate here), and Miklos Rozsa's string-dominate music score is more than something that just plays in the background like an out-of-tune jukebox. The film has a snappy motif theme that repeats at just the right moments and never wears out its welcome. And Billy Wilder, the director, always finds the right decisions on how to shoot a scene and when. When to keep his camera locked for a long stretch of time and when to cut away. The screenplay sure paces itself well, but Wilder was the one who had to figure out how to keep things interesting. And he did with flying colors.

Here is another test for a great film. Watching a movie that you know is great with friends or relatives, and not only relishing in the fact that you love the movie, but when you can tell your associates are loving it too.
2012-11-07
Double Indemnity
From the first time he sees that ankle bracelet, Walter Neff (Fred MacMurray) is a doomed man. As Phyllis Dietrichson (Barbara Stanwyck) descends her California home's spiral staircase, we are as enraptured as Neff. And it takes little time to figure out that being enraptured by this femme fatale is a very dangerous position to find oneself in. Is it accidental that the bracelet is worn around her ankle, as opposed to the more traditional wrist? Is it accidental that the sunlight streaming through the windows cast shadows not unlike bars across the living room? I suspect it's about as accidental as Mr. Dietrichson (Tom Powers) eventually ending up dead along the railroad tracks. We must remember that Billy Wilder is doing more than evoking noir here, he's inventing it. And how brave he is! Beginning the film by all but divulging the ending is hardly the route most directors choose to go when directing a thriller. But as he's well aware, the audience doesn't care half as much about where they end up as they do about the thrill of the ride it takes to get them there.

The structure of the film is familiar to anyone who has seen "Body Heat," or any other knockoff. "Double Indemnity" is the original however, and it's intricate plot revels in its complexities nearly as much as Walter and Phyllis do in their convoluted plot to dispose of an unwanted husband. The audience learns only a minimum about the relationship between Mr. and Mrs. Dietrichson, but we easily surmise that their union was not out of love. If the marriage was one of convenience, than the murder certainly is. It seems unlikely Phyllis is after the freedom to continue her heady tryst with Walter, and even the money provided by the double indemnity clause of Mr. Dietrichson's life insurance policy seems more like a bonus than a motivation. In other words, Phyllis just wants her husband dead. And Neff obliges.

Several times while watching "Double Indemnity," I felt my pulse physically quicken. These scenes were most notably the ones in which it looked as though Walter and Phyllis' trolley car had finally reached the end of its line, and discovery of their crime was inevitable. The scene where Phyllis is forced to hide behind a door, knowing that incrimination awaits if the person on the other side sees her, is unrelenting in its suspense. After all, we want this reprehensible act to go off without a hitch every bit as much as they do. That is the sign of a good film. It also stands to reason, seeing as how we were there when the elaborate scheme was being plotted. That makes us accessories. And if they get caught, God help us, so do we.
2006-12-02
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.

RECOMMEND HIGHLY
2013-01-16
Along with "Out Of The Past", one of the greatest film noirs of all time...
Wilder's astute direction, a cracking tale of murder and deception taken from James M Cain's pulpy novel, an appropriately dark atmosphere, and the lethal combination of Stanwyck/MacMurray and Robinson in support combine for a stunning film noir.

MacMurray gives possibly the best performance (definitely the most well-known) of his career as the insurance representative Walter Neff, a weak-chinned chump who lets himself get talked into a murder-for-insurance scheme by the duplicitous double-crossing dame Phyllis Dietrichson (Barbara Stanwyck), who's not very fond of her older hubby at all.

Stanwyck's femme fatale performance is pure dynamite. She's fake and trashy yet alluring with her tart blonde hair (Stanwyck wore a wig), sweetly seductive voice and mesmerizing (to Neff, anyway) anklet. This girl's motives are purely selfish, covered by a pretence of romance, and she is apt to quickly change her line of attack to get what she wants. One moment, Stanwyck is "crying softly" on MacMurray's shoulder like a lost little lamb- the next, she is spitting venom like an angry cobra.

'Double Indemnity' possesses an amazing script filled with plenty of juicy, hard-bitten dialogue and double entendres. Stanwyck and MacMurray's interactions always have a smoky sexy undercurrent punctuated by cracking one-liners.

MacMurray's protagonist provides the voice-over so common to the noir genre. It is one of the best you'll hear, with MacMurray narrating the circumstances of his own downfall with a resigned, yet smooth manner. Great use of lighting and shadows- this film has amazing visual style; it looks foreboding.

Robinson is a great in a supporting role as claims manager Keyes, who, after the couple commit their crime (knocking off Barbara's old hubby), quickly gets wise that his death was no accident. It was murder- and Keyes is determined to snuff out the criminal. He suspects Stanwyck from the start, but is oblivious to Neff's involvement. Here, with Robinson and MacMurray's characters, we have possibly the first open declaration of love between two males in the cinema. When Keyes finds out about Neff's involvement, there is no vicious air between the two men. Instead, a kind of hurt, disappointed sadness.

One thing I found really nice amidst the dark deeds was Neff's relationship with Dietrichson's daughter, Lola (Jean Heather). As his world is crashing down around him, Walter finds some sort of ironic comfort with the distraught young girl, whose mother and father have both died under suspicious circumstances (Hello, Phyllis) along with her boyfriend being suspected in her father's murder. Ironic indeed, as Walter was one of the perpetrators of her pain. But one feels that their relationship has an underlying purity to it, so we accept it. She is the girl Neff should have taken up with in the first place. After all, Neff is our resident "poor sucker". It's that black-hearted witch Phyllis who we have to blame.

Or is it? Neff could have backed out of the plan at any time, he was just weak and caught in the clutches of a powerful woman in control. Stanwyck merely activated MacMurray's long-held desire to crook the system. Phyllis does redeem herself to a degree near the film's conclusion, but it's too late for both lovers.

The original of a type of crime flick that has been copied relentlessly over the years, 'Double Indemnity' is definitely one of the best, tightest noirs I've had pleasure to view .
2008-01-10
The ultimate noir
"Double Indemnity" is a 1944 film directed by Billy Wilder, and it's a classic. The plot has been around forever - a beautiful woman seduces a man because she wants him to help kill her husband. What Wilder does with it demonstrates his mastery.

Wilder's genius starts with the casting of Fred MacMurray, Everyman if there ever was one, as Walter, an insurance man. A boring profession and what appears to be an ordinary, albeit attractive man who is also a good salesman. Barbara Stanwyck is Phyllis, the femme fatale. Blonde with a beautiful figure, an icy, challenging manner, and a seductive voice. Edward G. Robinson is Keyes, the insurance investigator and good friend of Walter's. Dogged yet warm as he follows clues to what he believes is a murder and not an accident.

There's nothing tender about the MacMurray-Stanwyck love affair, and Stanwyck delivers her lines in a cold, calculating way - the same way she does the love scenes. Walter comes off as fresh at first - what salesman would flirt with a married woman as obviously as he does - but he probably realizes when Phyllis appears wrapped in a towel that she probably wants him to. There's nothing spontaneous about Phyllis asking about life insurance for her husband; it's been on her mind since Walter showed up to renew the car insurance. The minute she says she doesn't want her husband to know about it, Walter knows what she's up to. Though their plan is brilliant, Keyes is smarter than they realize.

I love the way it's introduced into the plot that Phyllis was the first Mrs. Diedrickson's nurse and that Lola, Phyllis' stepdaughter, suspects Phyllis hurried her mother's death along. I also love Walter's cold feet as he becomes interested in Lola - but it's too late.

"Double Indemnity" can only be described as compelling - it's not action-packed but there isn't a wasted or slow second. Stanwyck, who could be a very likable actress, plays a real conniver, and she does so brilliantly. MacMurray gives a relaxed performance - he's actually perfect casting, as one can see how easily he gets sucked into Phyllis' plan. Edward G. Robinson is the film's anchor as Keyes, who is like a father to Walter but also a man who takes his job very seriously. He's determined to get to the truth of the case, and every word he says is like chalk on a blackboard to the guilty Walter.

Wilder's brilliant direction and pacing shows in every frame, and the surprise ending is the icing on the cake. A great noir, a dream cast, a great director, Hollywood at its very best.
2007-09-08
Simply brilliant
I'm not sure I can think of any new original praise for this film. All I can say is that the suspenseful twists and turns of the the classic film-noir plot and the moral ambiguity of Walter and Phyliss brought to life by truly memorable performances by MacMurray and Stanwyck (and Robinson in his key supporting role as Keys) left an indelible mark on my cinema mad mind even before I had become aware of the film's deserved legendary reputation. When I think of this film, I think of Proverbs 5:3-5 For the lips of a strange woman drop as an honeycomb, and her mouth is smoother than oil. But her end is bitter as wormwood, sharp as a two-edged sword. Her feet go down to death; her steps take hold on hell.
2003-11-07
Chandler's influence....
I was impressed by the subtle changes Raymond Chandler and Billy Wilder worked on Cain's novella. The book DOUBLE INDEMNITY is a fast, slick morality piece wherein an amoral hero ("Walter HUFF") callously disregard notions of Good and Evil, only to find that Evil does exist (The things he discovers about Phyllis Dietrichson's past carry quite a shock.. and were omitted from the film.)and that he is sleeping with it. The ending is literally hellish and obviously influenced writers like Jim Thompson.

The film, on the other hand, discards this to play up a love story between Edward G. Robinson and Fred MacMurray. Their mutual respect at the beginning of the film has turned into sad affection by the end, when Robinson lights MacMurray's cigarette, Fred says, "...It was right across the desk from you," Ed answers, "Closer than that, Walter," and Fred replies, "I love you, too." Tellingly, the exchange doesn't seem gay, just the expression of feelings between two men. Chandler knew how to write this and Wilder knew how to film it -- and very well indeed.
2004-07-02
Sort of accidentally, on purpose
I have not read the book or anything concerning the original case, and this is the only version that I've watched. If the novel is this spellbinding, I may have to get a copy. I suppose I should address something before I get into the review itself; yes, the story is quite similar to The Postman Always Rings Twice(and while this is superior, I would definitely suggest giving that one a whirl, too... the original, that is). It's the same author, and they aren't identical. They are also both somewhat reminiscent of Macbeth. Other than that I did not find myself falling in love with these leads(as I did in the Garfield/Turner one), I really cannot complain about this film(and I won't even attempt to argue against the immense chemistry that this duo has; they light the screen on fire). I have not seen a lot of Wilder's work, but I thoroughly enjoyed Some Like It Hot, as well. This is a classic piece of noir, and ought to get a viewing by every fan of such. The brilliant dialog and narration is full of metaphors, plays on words(and the like) and every line is carefully phrased, with several utterly unforgettable exchanges. Editing and cinematography are excellent. The lighting and use of shadows... incredible. This does an amazing job of building suspense and tension. The plot is well-written, and the twists are impeccable. Every acting performance is spot-on. The characters are credible and well-developed, and the women are allowed strong-willed moments. MacMurray is rather cool. There is a little racism and sexism(on account of when it was made), some innuendo and brief mild and not graphic violence in this. I recommend this to everyone into these movies. 10/10
2010-05-24
Film Noir Classic
Double Indemnity is a movie that is like the periodic table to science. This movie is absolutely essential to the medium of film. It is one of those flicks that will always stand the test of time. It's a film to study as well as one to love and enjoy. It is a muse for a lot of films that have been made since this 1944 masterpiece.

The story is about an insurance representative, Walter Neff (Fred MacMurray), who falls in love with a woman, Phyllis Dietrichson (Barbara Stanwyck). She wants him to help her murder her husband and the bonus behind this plan is that the death of Mr. Dietrichson will trigger a heavy life insurance payout. The crime is carefully inspected by Neff's boss, insurance investigator, Barton Keyes (Edward G. Robinson).

This film was nominated for seven Oscars for a reason. The acting is superb and is to a standard that modern audiences will appreciate. The directing of Billy Wilder (Some Like It Hot, Sunset Blvd.) makes it film noir classic. And the screenplay is one of the best that Hollywood has produced.

Double Indemnity is a film that everyone should watch. It should be something that should be passed down from generation to generation. It is a perfect film in so many ways and one that should be held in the highest regard by all who watch it. This film defines 10 out of 10.
2015-08-21
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