Double Indemnity 1944 123movies

Watch: Double Indemnity 1944 123movies, Full Movie Online – 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..
Plot: A rich woman and a calculating insurance agent plot to kill her unsuspecting husband after he signs a double indemnity policy. Against a backdrop of distinctly Californian settings, the partners in crime plan the perfect murder to collect the insurance, which pays double if the death is accidental.
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Ratings:

	8.3/10 Votes: 157,839
	97% | RottenTomatoes
	95/100 | MetaCritic
	N/A Votes: 1450 Popularity: 12.613 | TMDB

Reviews:

Perhaps the single best example of a film noir movie, _Double Indemnity_ (1944), stars Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. Based on a novel written by James Cain, the screenplay was co-written by Billy Wilder and the amazing Raymond Chandler.

Set in 1938 California, the story is based on the true-life 1927 murder of a married Queens, New York woman’s husband who was killed by the woman’s boyfriend after she took out a large insurance policy that contained a double-indemnity clause. In this movie, Phyllis Dietrichson (played by Stanwyck) takes out a life insurance policy on her husband with the help of insurance salesman-soon-to-be-turned-murderer Walter Neff (played by MacMurray). Robinson plays Barton Keyes, Neff’s co-worker and a very suspicious claims adjuster who suspects Phyllis Dietrichson might have had something to do with her husband’s sudden death.

This movie is an hour and forty-seven minutes of pure movie love. The film was nominated for seven Academy Awards [Best Picture, Best Actress in a Leading Role (Barbara Stanwyck), Best Director, Best Writing-Screenplay, Best Cinematography, Best Sound Recording, and Best Music (Scoring of a Dramatic or Comedy Picture)], though it won none.

A banner movie from film noir’s classic era.

Double Indemnity is directed by Billy Wilder and Wilder co-adapts the screenplay with Raymond Chandler from the novella written by James M. Cain. It stars Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. Music is by Miklos Rozsa and cinematography by John F. Seitz.

For a film lover such as myself it feels redundant writing a review for Double Indemnity, because quite simply there’s nothing to say that hasn’t been said already. The esteem it is held in is justified, it’s a razor sharp noir across the board and can be put up as one of the classic noir era pictures that got lovers of the form interested in the first place.

Based around the infamous Snyder/Gray case of 1927, Wilder and Chandler fill the story with a sinister cynicism that is palpable in the extreme. With a script positively pumped with hard boiled dialogue, a simple case of murder becomes so much more, a labyrinth of devious cunning and foolishness, with a trio of top performances crowning this topper.

Technically via aural and visual work the story gains extra spice. Rosza provides a score that frays the nerves, imbuing the sense of doom and edginess required for plotting. Seitz excels, the photography a trademark for noir, heavy shadows, abrupt camera angles and menacing shards of light come to the fore.

And to top it all off, it gets away with so much, a real censorship baiter. The story takes a journey to the dark side of morality, and the makers, bless them for they know what they do, gleefully tease the production code to give film noir fans a reason to rejoice.

Quintessential stuff. 10/10

Ten times twice as dangerous…Double Indemnity
What many call the ultimate film noir, the murder mystery that is spoiled at the start, setting the stage for a retelling by our protagonist of the perfect crime, is unraveled before our eyes. Billy Wilder’s Double Indemnity revolves around an insurance fraud murder that appears foolproof until the seams start to tear. Walter Neff, the top salesman two months in a row, falls in love with the young wife of an oilman, a woman looking for a way to leave her troubled marriage. Who better to get away with the perfect crime then a man that sees false claims avenged everyday? Their tracks must be covered and their guilt assuaged. However, being as our first scene shows Walter confessing to everything, we know the well-laid plans were unsuccessful. The trick to the film becomes how it all went down, how the puzzle pieces fell into place, and the power of a conscience, eating away at you until you can’t stand the pressure any longer.

It is not giving away anything to say that the two complete the task of killing Mr. Dietrichson, a businessman with a temper. The deed is orchestrated to look like he fell off a train, a venue for accidental death that comes with a special double indemnity clause, one that pays twice the cost of his recently purchased insurance of $50,000. That money is the impetus that pushes Neff over the top to help his new mistress. Phyllis Dietrichson is the damsel in distress, the nurse of her husband’s first wife that was naïve and heartbroken for her boss after his loss. She says it compelled her to stay with him in a union that never held any love. The chance arrival of Neff not only opens her eyes to the possibility of a clean break without any strings and actually some cash to boot, but also to a man she can spend time and possibly settle down with. It is a strange coincidence that the Dietrichson’s auto insurance was allowed to lapse, creating a house call, and a happy accident that the man called to visit was one as immoral as Walter. Right from the start he flirts and makes advances towards the woman he knows is married to his client. It’s not until the end that you start to consider whether none of it was by chance at all, but instead carefully planned out and manipulated from the first second.

Neff is played by Fred MacMurray—a perfect fit for the role of a shady salesman, unafraid to get his hands dirty. The confidence and swagger allow us to believe he can win over the girl as easily as he does. He is the kind of guy that can fool the world into thinking he is on the level, a man of intelligence and pride. His boss, Barton Keyes and he have a very close relationship, one based on mutual respect and admiration. Neff has them all fooled into believing he is a man of character, one Keyes would personally vouch for, and his initial balk at the offer to help kill Dietrichson shows that maybe he is. Maybe there is some semblance of humanity behind the quick-witted banter and devious smile, a moral compass that won’t allow him to cross the line. But greed and lust can tempt even a saint, let alone a guy like Neff, and it doesn’t take long for him to begin the blueprints for what will be the perfect crime; one that not even Keyes and his keen lie detector can spot. It is that question of virtue that will ultimately undo him, though, as the strong stomach he thought he had might not be indestructible.

The story revolves around MacMurray and as a result he is on screen almost the entire time. He is our narrator and our entrance point into the proceedings. However, it is not a role that we necessarily relate to, nor even begin to feel sorry for to hope he gets away with the crime. Instead, knowing about his confession from the beginning, we sit down to watch his hubris shred his world to pieces. Each person is a cog to the tale at hand; it is the plotting of the film that takes center stage and top billing. The pieces are moved and we follow them through the twists and turns and revelations that change our preconceptions of each. No one is truly as they seem and they all have an ulterior motive just below the surface, propelling their actions and attempts for survival whether the other does or not. Our two criminals are selfish at heart, but until you watch the entire journey, you won’t know just how much.

While the acting is definitely dated and a product of its time, it doesn’t mean that it’s not good. Barbara Stanwyck plays MacMurray’s partner-in-crime Phyllis with equal panache. She holds her own in every situation, whether with her sharp tongue in some very funny back and forths or in her steely disposition when things get rough, it’s a part that needs to be strong and is. Barton Keyes is the role that sticks with you, though. Edward G. Robinson is fantastic as the cocky claims agent, self-proclaimed as never being wrong when his gut says something isn’t right. He delivers some of the best lines with such deadpan seriousness that you laugh even harder. The ego, cynicism, and attitude all add up to a man you have to respect, because under the tough exterior lies a man with heart. His dynamic with MacMurray is an interesting one, especially when seen through to the end. While they aren’t completely fleshed out, each character is a detailed piece to the intricate web of deceit on display. Surrogates for the story to be shown to the audience, we watch them not for who they are, but for what they will do.

A film noir masterpiece that received no less than seven Oscar nominations
There were some superb thrillers coming out of Hollywood in the forties which did not rely on the private eye conventions – but somehow the best of them were spread throughout by the same cynicism, the same realism, the same ruthless suspense…

Best of all was Wilder’s “Double Identity.” It was based on a real-life assassination in New York in 1927, when a wife and her lover killed the husband for his insurance money…

In the film, a near-breaking-point tension was reached and sustained in the passion of an insurance salesman and a passionately sensual femme fatale – an intense desire for each other and for money; in the murder of the poor husband; and in their useless attempts to escape the ability of a fast-talking investigator

Other Information:

Original Language en
Runtime 1 hr 47 min (107 min), 1 hr 50 min (110 min) (Argentina), 1 hr 30 min (90 min) (Ontario) (Canada)
Budget 927262
Revenue 2500000
Status Released
Rated Passed
Genre Crime, Drama, Film-Noir
Director Billy Wilder
Writer Billy Wilder, Raymond Chandler, James M. Cain
Actors Fred MacMurray, Barbara Stanwyck, Edward G. Robinson
Country United States
Awards Nominated for 7 Oscars. 2 wins & 9 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Mirrophonic Recording)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,940 m (11 reels)
Negative Format 35 mm (Eastman Plus-X 1231, Super-XX 1232)
Cinematographic Process Digital Intermediate (4K) (2022 remaster), Dolby Vision, Spherical
Printed Film Format 35 mm (Eastman 1302)