Author: Christian Gay

August 8, 2016 / / Main Slate

The world of insurance sales will never be as sexy and suspenseful as it is in Billy Wilder’s DOUBLE INDEMNITY (1944). The renewal of auto insurance, a transaction that nowadays can be completed in minutes from the relative safety of a smart phone, sets off a series of events punctuated by murder and dripping with deceit, seduction, and betrayal in this Hollywood classic. Co-written by Wilder and mystery novelist Raymond Chandler, DOUBLE INDEMNITY is viewed by many as the first and best American film noir. Studio stars Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson each took the dual professional risks of playing against type in the film adaptation of a story long viewed as “too taboo” for the screen. Their performances bring life to a razor-sharp script that set the gold standard for film noir, artfully introducing now-clichéd narrative devices like subjective voiceover narration, uncannily accurate detective speculation, and (perhaps most memorably) flirtatious, rapid-fire double entendre. Wilder and Chandler’s script, and particularly Stanwyck’s smoldering performance, keep the audience riveted in suspense for 100-plus minutes, despite the presence of a framing device “spoiling” MacMurray’s fate in the opening scene of the film.