He wrote "The photography by John F. Seitz helped develop the noir style of sharp-edged shadows and shots, strange angles and lonely Edward Hopper settings. Doch nur seine Frau Phyllis ist anwesend. ", "Sex, death and architecture: an L.A. noir tour", "The 17th Academy Awards (1945) Nominees and Winners", "His Other Half: Men Looking at Women Through Art", https://en.wikipedia.org/w/index.php?title=Double_Indemnity&oldid=996597618, Films with screenplays by Raymond Chandler, United States National Film Registry films, Creative Commons Attribution-ShareAlike License, Douglas Spencer as Lou Schwartz, Neff's office mate, This page was last edited on 27 December 2020, at 15:43. "[26] This wig has been cited by some as being the picture's biggest flaw, claiming that it looks too "fake". Ich küsse Ihre Hand, Madame | The story, told primarily in flashback, ensues. David O. Selznick, no stranger to self-aggrandizement, frequently sought to put a high-culture gloss on his pictures with "trade-book" ads. Nach Bekanntwerden des Falls wird Neffs Kollege und Freund Barton Keyes mit der Untersuchung der näheren Umstände beauftragt. "[26], The production was not without its lucky accidents: The company had just finished shooting the final segment of the sequence where Phyllis and Walter make their getaway after dumping their victim's body on the tracks. Well, the James M. Cain source novel is an American classic, and none other than the great Raymond Chandler was hired to help to give it a film treatment. MacMurray felt safe about his acquiescence because Paramount, which had him under contract and had carefully crafted his good guy image, would never let him play a "wrong" role. Wesentlich dazu beigetragen hat Barbara Stanwyck, deren Verkörperung einer mit krimineller Energie und beträchtlichen manipulativen Fähigkeiten ausgerüsteten Verführerin das Rollenschema der Femme fatale entscheidend geprägt hat. Despite the noir genre not matching at first with the director of great comedies Billy Wilder (Some Like It Hot, Avanti! At the time, Stanwyck was the highest-paid actress in Hollywood as well as the highest-paid woman in America. [6] According to Wilder, this was exactly what he was going for when he chose the wig, wanting to project "the phoniness of the girl – Bad taste, phony wig", with cheap perfume to match. [9], Eight years later Double Indemnity was included in a collection of Cain's works titled Three of a Kind. Frau ohne Gewissen wurde für MacMurray der Durchbruch als dramatischer Schauspieler. In his ads, Selznick quoted various dignitaries claiming it was the finest picture they had ever seen, how it served such a noble purpose, how it elevated humanity to new levels – no high-toned platitude was too lofty to invoke. Das verflixte 7. Add director Billy Wilder to moodily light and film the hardboiled Los Angeles setting, and the once-in-a … "[69] Critic and writer Wendy Lesser notes that the narrator of Sunset Boulevard is dead before he begins narrating, but in Double Indemnity, "the voice-over has a different meaning. At just the time Double Indemnity was released, Selznick's Since You Went Away was enjoying some box-office success. [10] Paramount resubmitted the script to the Hays Office, but the response was identical to the one eight years earlier. Ursprünglich war ein Schluss geplant gewesen, um das Hays Office zufriedenzustellen, in dem Neff zunächst festgenommen und anschließend in der Gaskammer hingerichtet wird. Fünf Gräber bis Kairo | When McCarey made his way to the stage to accept the award for best picture, Wilder, sitting on the aisle, stuck out his foot and tripped him. [64], Wilder went to the awards ceremony expecting to win even though the studio had been backing its other big hit of the year, Leo McCarey's Going My Way, and studio employees were expected to vote for the studio favorite. Küss mich, Dummkopf | Der Major und das Mädchen | [53], For years, it was believed the exterior of the train station in the film was the Mission Revival Style Southern Pacific Railroad Depot in Glendale, California built in 1923, but the scene was filmed at the Burbank S.P. Eine zu sämtlichen Schandtaten bereite Femme fatale sowie ein zum Mordkomplizen mutierender Durchschnittstyp – derartige Rollen waren im damaligen Mainstreamkino Hollywoods mehr als ungewöhnlich. To settle it, Wilder hired a couple of contract players from the studio to read passages of Cain's original dialogue aloud. | [3] Der Buch- und Filmtitel Double Indemnity bezeichnet im englischsprachigen Raum die beim Unfalltod doppelt ausgezahlte Versicherungssumme. [77], So many imitations flooded the market, that James M. Cain believed he deserved credit and remuneration. [6] The contrast was heightened, in Wilder's words, by "dirtying up" the sets. Double Indemnity (1/9) Movie CLIP - I Killed Him (1944) HD. [65] After the ceremony while he and his wife Judith were waiting for his limousine to arrive, he yelled so loudly that everybody could hear him: "What the hell does the Academy Award mean, for God's sake? Neff erschießt sie jedoch kaltblütig. McCarey beamed as his picture won award after award, and when he was named Best Director, Wilder could no longer take it. [28] (This was the last in a series of roles turned down by Raft in films which turned out to be classics. "[6], Cain was very pleased with the way his book turned out on the screen. This was, however, during the depth of the Red Scare in Hollywood and Guild members rejected the socialist notion. "[47], Wilder managed to bring the whole production in under budget at $927,262 despite $370,000 in salaries for just four people ($100,000 each for MacMurray, Stanwyck, and Robinson, and $70,000 – $44,000 for writing and $26,000 for directing – for himself). [45] Unconvinced, Paramount production head Buddy DeSylva was overheard to say "We hired Barbara Stanwyck, and here we get George Washington. When I was lucky, it coincided with the taste of the audience. Ariane – Liebe am Nachmittag | "The lapel," the actor said, annoyed by such stupidity. Reporter des Satans | The screenplay was based on James M. Cain's 1943 novella of the same name, which originally appeared as an eight-part serial in Liberty magazine, beginning in February 1936. A crime story told in flashback, it tells a tale of insurance agent (Fred MacMurray cast wonderfullly against type, as he was in another Wilder classic, The Apartment) falling for a true femme fatale (Barbara Stanwyck at her innocently seductive best). Shopping. Copy link. Gewinnen konnte dieser Film in keiner Kategorie. This volume also includes the aforementioned "Writers in Hollywood" piece by Chandler. In einem unbemerkten Moment springt er vom Zug. Sie finden Rezensionen und Details zu einer vielseitigen Blu-ray- und DVD-Auswahl – neu und gebraucht. It's a race against time to get away with … [14] Nachdem Wilder zunächst Alan Ladd oder George Raft für die Rolle des Walter besetzen wollte, kam er letztlich auf Fred MacMurray. Neff then boards the train posing as Mr. Dietrichson and makes his way to the back of the train, stepping onto the platform outside to smoke a cigarette. Wilder had the idea of using a restless string tremolo (as in the opening to Franz Schubert's Unfinished Symphony) to reflect the conspiratorial activities of Walter and Phyllis against her husband which Rózsa felt was a good one (and the symphony is actually used with a very melodramatic effect in the scene with Lola and Walter in the hill above Hollywood Bowl, 1:23–1:26). Wilder entschied sich jedoch später für einen anderen Ausgang der Handlung, der nach seiner Auffassung besser zu den Charakterzeichnungen der Hauptfiguren passt. [46] MacMurray was surprised when he first saw it onscreen: "When I  ... turned the key I remember I was doing it fast and Billy kept saying 'Make it longer, make it longer,' and finally I yelled 'For Chrissake Billy, it's not going to hold that long,' and he said 'Make it longer,' and he was right. "Mr. McCarey ... stumbled perceptibly," he gleefully recalled. As the would-be lovers plot the unsuspecting husband's murder, they are pursued by a suspicious claims manager (Edward G. Robinson). [33], Edward G. Robinson was also reluctant to sign on for the role of Barton Keyes, but not for the same reasons as MacMurray and Stanwyck. Keyes suspects foul play on Phyllis's part because he thinks she was having an affair. Da bereits etliche Szenen gedreht waren, war es zu diesem Zeitpunkt jedoch bereits zu spät für eine Änderung der Haartracht. [71], Double Indemnity was adapted as a radio play on two broadcasts of The Screen Guild Theater, first on March 5, 1945 with Fred MacMurray and Barbara Stanwyck, then five years later on February 16, 1950 with Stanwyck and Robert Taylor. In pain from a gunshot wound to his shoulder, Neff begins dictating a confession into a dictaphone for his friend and colleague, Barton Keyes, a claims adjuster. After the success of Double Indemnity, imitators of the film's plot were rampant. It also helped, as he freely admitted, that he drew the same salary as the two leads for fewer shooting days. Es ist eine so überraschende wie treffende Feststellung, dass einige der markantesten Noir Filme von europäischen und oftmals sogar deutschsprachigen Auswanderern und Exilanten gedreht wurden, von zum Beispiel Fritz Lang, Otto Preminger und eben Billy Wilder. Am Tag der Abreise verschafft Neff sich zunächst ein Alibi und versteckt sich dann im Auto von Phyllis. It is not the voice of a dead man  ... it is  ... the voice of an already doomed man. The film stars Fred MacMurray as an insurance salesman, Barbara Stanwyck as a provocative housewife who wishes her husband were dead, and Edward G. Robinson as a claims adjuster whose job is to find phony claims. station, bearing signs that read Glendale. Opening credits roll over the silhouette of a hat-wearing man using crutches to hobble forward. Buddy Buddy. Bei dieser Gelegenheit lernt Neff auch die Stieftochter von Phyllis, Lola Dietrichson, kennen und fährt sie anschließend in die Stadt, wo sie sich heimlich mit ihrem Freund Nino trifft. Qualifizierte Bestellungen werden kostenlos geliefert. [14] Producer Joseph Sistrom, an avid reader and an admirer of The Big Sleep, then suggested Raymond Chandler. [54], Other locations around Los Angeles used in the film were an apartment building at 1825 N. Kingsley Drive in Hollywood where Walter Neff lived and the building on the southwest corner of Hollywood Blvd. Lola's mother also died under suspicious circumstances when Phyllis was her nurse. Als Keyes an einem anderen Tag Neff in sein Büro bittet, wird dieser mit einem neuen Problem konfrontiert: Der Mann Jackson, der ihn auf der Plattform des Zuges gesehen hatte, will aussagen. According to Stanwyck: I said "I love the script and I love you, but I am a little afraid after all these years of playing heroines to go into an out-and-out killer." Wilder Times: The Life of Billy Wilder. Only then do they speed away from the crime scene. Here, Pereira is said to have copied an existing office: the corporate headquarters of Paramount Pictures in New York City. Neff, der sein Schicksal nicht wahrhaben will, versucht die Flucht zu ergreifen, schafft es mit seiner Schussverletzung jedoch nur bis zur Tür und bricht zusammen. Wilder wirkte stilbildend für die Genres Filmkomödie und -drama und schuf als Regisseur und Drehbuchautor von Komödien wie Manche mögens heiß, Eins, Zwei, Drei und Das Mädchen Irma la Douce, aber auch von dramatischen Filmen wie Das verlorene Wochenende, Frau ohne Gewissen, Sunset Boulevard oder Zeugin der Anklage Filme von zeitloser Relevanz. The trade paper Variety wrote that the film "sets a new standard for screen treatment in its category". The crew was breaking for lunch before striking the set. Oktober 1973 im US-Fernsehen gezeigt wurde, konnte jedoch nicht an den großen Erfolg von Billy Wilders Original anknüpfen. After seeing the picture half a dozen times, he was quoted as saying "It's the only picture I ever saw made from my books that had things in it I wish I had thought of. In the opening scenes, as Walter Neff stumbles off the elevator on his way to his office to record his confession, the vast two-tiered office is empty and dark. [26], The original ending to the Cain novella called for the characters to commit double suicide. [9] Für Jean Heather als Lola und Byron Barr als Nino Zachetti bildete Frau ohne Gewissen das Filmdebüt; für Tom Powers als Mr. Dietrichson den ersten Film seit dem Jahre 1917. FSK 12 Jahre [36] The footage and sound elements are lost, but production stills of the scene still exist. Keywords:Laura Mulvey Molly Haskell Double Indemnity Billy Wilder Film Noir Psychoanalysis Femme Fatale Freud Film Studies In her article “Visual Pleasure and the Narrative Cinema”, Laura Mulvey describes a way of analyzing and understanding cinema from a feminist and psychoanalytic perspective. Gleichzeitig ist Nino auch der Hauptverdächtige in den Augen der Ermittler, da er Phyllis täglich besucht haben soll. Der hatte jedoch zuvor nur leichtere Komödienrollen gespielt und war überrascht, dass Wilder ihn in einem solch untypischen und düsteren Part besetzen wollte. pp. [32] MacMurray made a great heel and his performance demonstrated new breadths of his acting talent. Hellmuth Karasek berichtet in seiner Biografie Billy Wilder – eine Nahaufnahme, dass sich Wilder über den deutschen Titel lustig gemacht habe: „Frau ohne Gewissen? Share. Okay?" 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