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All throughout the film the tense atmosphere is tangible. During the pivotal scene in which the pair finalise their murder plans, the scenes are shot nearly entirely in darkness, emphasising the guilt and secrecy of the lovers dark pact. This production technique amplified the tension on screen and helped the viewers feel trapped, just like Walter Neff. The ‘venetian blind’ lighting technique – first pioneered by b-movie film makers in the 1930s and now an iconic trademark for film noir, was heavily featured throughout the film to great success.
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He was heavily inspired by early German expressionism and created a seedy, brooding world full of shadows and harsh lighting. Seitz brilliantly captured the tales desperation on screen. Throughout the film cinematographer John F. After the couples initial meeting, they meet once again to plot an apparent faultless plan to kill Dietrchison’s husband for money (and supposed undying love for one and other). She switches from hot to cold in a blink of an eye, flirting with Neff unashamedly in front of her house keeper. She greets Neff in a state of dishabille, dressed into nothing but a towel, a wig (more about that wig later) and ridiculously over the top feathered peep toe heels. Neff first meets Dietrchison during a routine home sales visit. Stanywyck’s femme fatale is one of noir cinema’s most celebrated characters – cold hearted, conniving and corrupt to the core. Double Indemnity is narrated through the voice of Neff and closely unravels the murder plot in flashbacks. We are first introduced to our protagonist Neff, slumped in an office chair, visibly strained, sweating and recording a confession into a voice recorder. It follows the story of insurance salesman Walter Neff (Fred MacMurray) and the heavily orchestrated murder of Phyllis Dietrchison’s (Barbara Stanwyck) husband all in the name of love (and hefty insurance payout). Cain and interestingly co-written by Cain’s contemporary Raymond Chandler and Wilder. The film was directed by Billy Wilder in 1944, based on the 1943 novella by crime writer James M. Looking for something to watch this Noir-vember but don’t know where to start? Fondly revered as one of the crowning jewels of 1940’s film noir, Double Indemnity is a sumptuous, stylised tale of murder most sweet.
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0 #NOIRVEMBER Phyllis Dietrichson and dressing the femme fatale in Double Indemnity.