DOUBLE INDEMNITY (1944)

"I couldn't hear my own footsteps.  It was the walk of a dead man."

Walter Neff (Fred MacMurray) has a pretty swell life.  He has a cush job as an insurance salesman (semiannual sales record..twice in a row!), he has a cozy apartment and a nice car.  Then his life is turned completely upside-down when he's introduced to Phyllis Dietrichson (Barbara Stanwyck).  An outwardly beautiful woman with the soul of a bull shark.  From the very second they lay eyes on each other, it's fireworks!  I love that first scene with them alone together.  There's so much rapid fire double entendres and shit-talking going back and forth, that I couldn't do anything but sit there grinning like a fool, jealous of the brilliant dialogue written by screenwriters Billy Wilder and Raymond Chandler.

Anyway, without him even knowing it, from that very first meeting, Phyllis has her claws sunk into Walter's soul and he's doomed.  He tries to play it cool, but then, when she finally admits that she not only wants his help in murdering her husband, but in also setting up an expensive accident insurance policy on him, Walter topples like a house of cards.  He sacrifices his entire life over some sex...but then again, isn't that the short history of humanity?

DOUBLE INDEMNITY is considered a landmark in American cinema and justifiably so.  At the time it came out, there was pretty much nothing like it in regards to the way it looked (darkness everywhere; dust in the air; the shadows of the Venetian blinds going across Walter to look like prison bars, etc.) and the absolute sordid behavior of the lead characters, especially Phyllis Dietrichson.  She's evil through and through.  Just look at her face while her husband is being brutally murdered.  That subtle look of gratification that goes beyond sexual pleasure and into malevolence is extremely disturbing.  And that's really saying a lot about the acting abilities of Barbara Stanwyck (at least to me, because I think that she is the most beautiful woman to ever grace the silver screen).  She's gorgeous, but at the same time completely repulsive.

Fast pace, venomous dialogue, perfect acting, interesting Los Angeles locations, deep shadows, psychosexual themes, costume design by Edith Head, a Raymond Chandler sighting, extremely influential photography that is still being copied today.  Plus...it has the immortal line "They know more tricks than a carload of monkeys." Holy shit!  Hahaha!

I could go on for hours about DOUBLE INDEMNITY, but I'll just cut it short and say that it is required viewing by every classic movie fan.

Fun fact: Edward G. Robinson was was the original singer for Alice in Chain's song "Rooster". "You know he ain't gonna die...yeah, seeeeeee!" True story.

Raymond Chandler (seated)

SORRY, WRONG NUMBER (1948)

Adapted for the screen by Lucille Fletcher from her own radio play, SORRY, WRONG NUMBER is the mildly interesting story of an obnoxiously pampered woman (Barbara Stanwyck) who is bedridden and home alone in her gigantic NYC mansion.  When the film opens, Stanwyck is desperately tying to get her husband (Burt Lancaster) on the phone.  While talking to the operator, she gets a crossed connection and overhears two seedy-sounding guys planning a murder for that very night at 11:15 pm, when a passing train would hide any screams.  Startled by this conversation, she calls the police, but does a terrible job of convincing them of anything.  After that we're shown numerous flashbacks, even flashbacks within a flashbacks of how she met her husband.

Stanwyck is the spoiled daughter of a wealthy businessman.  Burt was a dirt poor drug store employee.  But she didn't care.  She wanted him and she always got what she wanted.  Almost forced into marriage, Burt is now extremely bitter and full of secrets.  Could some of these secrets be connected to the mysterious conversation Barbara heard earlier?

I wasn't expecting SORRY, WRONG NUMBER to be a film noir, but I'm pretty sure it is.  Lots of deep shadows, low lighting, sinister-feeling camera angles, corrupt characters, doomed situations, etc.  The story is very dated now, but it's still entertaining.  Also, I felt very little sympathy for Barbara's character (she created this entire situation with her selfish cruelty).  Maybe that was the writer's intention?  As it is though, SWN is a good film.  And I'm always happy to see Stanwyck and Lancaster, although I do wish they had more scenes together.

Recommended for classic movie fans.

Joyce Compton in a uncredited appearance.