"It was a hot afternoon, and I can still remember the smell of honeysuckle all along that street. How could I have known murder can sometimes smell like honeysuckle?" - Walter Neff
In fact I named many if not all of the many facets of this film because I want to attempt to acknowledge all of them before I forget. But the reality is I love Double Indemnity at its most basic level as a piece of prime American cinema. Yes, it is film-noir and yes it came from a European director, but it is very much a product of 1940s sentiment as the war years waned.
The story is pulled right from some pulp fiction sleaze by James M. Cain and cemented itself as a noir classic in its own right with all the trappings that are called for.
It opens with the beginnings of Rozsa's score reverberating in our ears and it very rarely lets up. A car blazes wildly down the street and winds up in front of an insurance agency. Out stumbles our protagonist Walter Neff (Fred MacMurray) and for the rest of the film he relates the recent happenings over the Dictaphone of his colleague Barton Keyes (Edward G. Robinson). It goes something like this:
They think of everything and Neff has everything figured out to a tee. As he suggests it's like having the perfect odds on the roulette wheel, you just need an accomplice to spin and Phyllis is just that person. From then it's just straight down the line. They corroborate on all the details at local Jerry's Market, Walter sets up his alibi and he does the devilish deed as Phyllis stares with cool satisfaction at the road.
They set it all up like an accident as the last touch, because as Neff knows all too well if it looks like Mr. Dietrichson was killed from riding a train the Double Indemnity clause of the insurance will mean double the payoff due to how unlikely the occurrence is.
As Neff tries to console Lola Dietrichson over the death of her father, he quickly finds out what the naive girl has to say about her step-mother. It puts a little light on the subject and Neff realizes what he's been taken for. He wants to remedy things while he can, patching Lola up with her boyfriend and going to confront Phyllis one last time.
It's the perfect set-up. Darkened rooms with curtains drawn. Phyllis reclined in an armchair with evil intentions on her mind. In walks Walter and they have it out. Shots are fired, literally. Phyllis will never let up with her ploys until Walter gives her a little help for the final time. I'm sure the Hays Codes loved this one. I certainly did.
Back in the office Keyes finally overhears the end of Walter's "confession" as his friend bleeds to death. In one last touching moment Keyes returns the favor and lights the cigarette like Walter has been obliging the entire film. Walter: "Know why you couldn't figure this one, Keyes? I'll tell ya. 'Cause the guy you were looking for was too close. Right across the desk from ya."
Keyes: "Closer than that, Walter."
Walter: "I love you too"
Billy Wilder traded longtime partner Charles Bracket for Raymond Chandler and despite a rocky partnership they ended up with one of the greatest scripts chock full of memorable bits of dialogue. You know you have an impressive cast when Edward G. Robinson is your third lead and each character is playing against type. It's great casting, in a quintessential American drama solidified by great cinematography and storytelling.
It doesn't get much better than this and it certainly does not need to. You know Double Indemnity is good when I've seen it multiple times and each time the bullets still keep me on the edge of my seat. Thank you Billy Wilder for teaching us murder sometimes smells like honeysuckle. That's absolutely beautiful.
Phyllis: "No, I never loved you, Walter, not you or anybody else. I'm rotten to the heart. I used you just as you said. That's all you ever meant to me. Until a minute ago, when I couldn't fire that second shot. I never thought that could happen to me."
Walter: "Sorry, baby, I'm not buying"
Phyllis: "I'm not asking you to buy. Just hold me close.
Walter: "Good-bye baby."
5/5 Stars
