Written and directed by Samuel Fuller, Forty Guns is the story of a rancher with 40 men as her posse as her rule of a county is Arizona is threatened by the arrival of a new marshal whom she falls for despite the fact that he’s hunting for one of her men. The film is a western that play into a conflict that might occur as a woman is torn for the man she’s battling against and protecting one of her own. Starring Barbara Stanwyck, Barry Sullivan, Gene Barry, Dean Jagger, and John Ericson. Forty Guns is a riveting and rich film from Samuel Fuller.
The arrival of three brothers at a small county in Arizona brings some order following a series of incidents by a posse of 40 men who all work for a woman rancher as she is someone with power but would fall for the eldest brother who becomes the town’s lead marshal. It’s a film that play into this era of the Wild West that comes to an end largely as there’s a man working for the Attorney General’s office in the state of Arizona who arrives to bring some needed order but also allow this rancher to maintain some control due to the unruly actions of her younger brother. Samuel Fuller’s screenplay is largely straightforward in its narrative while exploring two people who are both at major transitions in their life. For the rancher Jessica Drummond (Barbara Stanwyck), she has all of the power to rule this small town and its county yet becomes uneased by the actions of some of the people in her 40-man posse including her brother Brockie (John Ericson) who has brought chaos and destruction to the small town of Tombstone.
The arrival of Griff Bonell (Barry Sullivan) would be a challenge to Brockie as their first confrontation would have Griff beat up Brockie but have him return home as a way to not escalate the conflict despite the fact that one of Drummond’s men in Howard Swain (Chuck Roberson) has been charged for mail robbery prompting Tombstone’s sheriff Ned Logan (Dean Jagger) to handle the situation and create more trouble. Yet, Bonell would get to know Drummond as an encounter with a tornado would bring them closer that only furthers the tension between Bonell and Drummond’s posse who sees him as a threat to their lifestyle.
Fuller’s direction is immense in its presentation as it is shot on location at various deserts in Arizona to play into the look of the Wild West that is dominated by this woman and her posse of 40 men as they can do whatever they want but haven’t made anyone’s life any easier including its leader. Fuller uses the wide and medium shots to get a scope of the locations as well as these long tracking-dolly shots that goes on for more than a minute in scenes where Bonell is talking to someone whether it’s his brother Wes (Gene Barry) or some of the people at the town. There are also some unique compositions that do play into the growing relationship between Drummond and Bonell as Fuller’s usage of close-ups and medium shots help add to the intimacy while taking great advantage of some of the interior locations to get a scope that includes an intense conversation involving Sheriff Logan, Drummond, and Bonell with Bonell being the subject of the discussion. It also play into some of the drama as it relates to Drummond’s conflict about her future as well as the fact that her own empire is crumbling.
Fuller also play into this air of disobedience as it relates to Sheriff Logan, Brockie, and a few others who feel threatened by Bonell yet some are aware of Bonell’s past as a gunslinger as his first confrontation with Brockie would be more of a battle of wits than skill. Fuller also displays some unique imagery as it relates to some stylish compositions such as the blurry vision of the previous marshal John Chisholm (Hank Worden) as well as other bits that help play into the chaos that is happening early in the film. Fuller also plays into the suspense as it relates to Bonell being a target as Fuller uses certain locations in the town as well as point-of-view shots of what might happen. The film’s climax is about a town trying to reclaim some order but also deal with the problem at hand with Bonell having to do what he feels is necessary for himself and for Drummond. Overall, Fuller crafts a majestic yet riveting film about a woman landowner/rancher falling for the new marshal as she copes the unruliness of her posse.
Cinematographer Joseph Biroc does incredible work with the film’s black-and-white photography in the Cinemascope film stock with its usage of natural light and shadows for scenes in the day as well as some unique lighting for some of the interior scenes set at night. Editor Gene Fowler Jr. does brilliant work with the editing in the way it allow shots to linger for more than a minute while using rhythmic cuts to play into the suspense and drama. Art director John Mansbridge, with set decorators Walter M. Scott and Chester Bayhi, does amazing work with the look of the Drummond estate in its interior setting as well as the shack on her land and the town that Bonell watches out for.
Costume designers Charles LeMaire and Leah Rhodes do fantastic work with the clothes from the suits that Bonell and his brothers wear as marshals to the gowns and black clothing that Drummond wears. The special effects of Norman Breedlove does terrific work with some of the film’s minimal effects such as the point-of-view shots of Chisholm in his deteriorating eyesight to the tornado sequence in the film. Sound editor Bert Schoenfeld does superb work with the sound as it help play into the atmosphere of the film including the sounds of gunfire and other objects that play into the suspense. The film’s music by Harry Sukman is excellent for its score that has elements of somber string orchestral pieces as well as some country-western inspired music with a song co-written by Sukman with lyricist Harold Adamson in High Ridin’ Woman and another Adamson composition with Victor Young in God Has His Arm Around Me as they’re both sung by Jidge Carroll.
The film’s wonderful ensemble cast features notable small roles and appearances from Sandra Wirth as a beautiful woman eyeing the youngest Bonell brother Chico, Gerald Milton as the arms seller Shotgun Spanger, Eve Brent as Spanger’s daughter Louvenia whom Wes falls for, Chuck Roberson as a member of Drummond’s posse in Swain, Chuck Hayward as a posse member in the skilled gunfighter Charlie Savage, Hank Worden as the visually-impaired marshal John Chisum, Ziva Rodann as Brockie’s girlfriend Rio, Paul Dubov as the local judge Macy, Neyle Morrow as Sheriff Logan’s lackey Wiley, and Jidge Carroll as the bathhouse owner Barney Cashman who is often friendly towards Bonell. Robert Dix is terrific as the youngest Bonell brother in Chico as a young man who is eager to help his brothers despite not being strong enough to drink yet finds a way to show his worth to his brothers.
Gene Barry is fantastic as the middle Bonell brother Wes as a man who is skilled with a rifle as he also thinks about wanting a decent life upon falling for Louvenia Spanger. John Ericson is excellent as Drummond’s younger brother Brockie as a bully and a drunk who thinks he can do whatever he wants yet finds himself being the source of all of the trouble as he is someone who doesn’t understand his limits or what he’s doing to his sister’s rule. Dean Jagger is brilliant as Sheriff Ned Logan as a man who is reluctant to work with Bonell as he’s more loyal to Drummond and her posse as he sees Bonell as a threat to Drummond’s power prompting him to try and help Brockie.
Barry Sullivan is amazing as Griff Bonell as the eldest of the three brothers and a former gunslinger who wants to maintain law and order in the small town of Tombstone as he also deals with his past and feelings for Drummond. Finally, there’s Barbara Stanwyck in a phenomenal performance as Jessica Drummond as a landowner/rancher with a 40-man posse as she deals with not just the unruliness among those in her posse as well as changing times while she starts to fall for Bonell as it is one of her most radiant performances of her illustrious career.
Forty Guns is a tremendous film from Samuel Fuller that features incredible performances from Barbara Stanwyck and Barry Sullivan. Along with its supporting ensemble cast, gorgeous visuals, themes of authority and disorder, and a majestic music soundtrack. It’s a western that carries a lot of its tropes but also with some exploration of gender roles as well as a man and woman trying to maintain some order and balance in the Wild West. In the end, Forty Guns is a spectacular film from Samuel Fuller.
Samuel Fuller Films: I Shot Jesse James - The Baron of Arizona - The Steel Helmet - Fixed Bayonets! - Park Row - Pickup on South Street - (Hell and High Water) – House of Bamboo - (China Gate) - Run of the Arrow - Verboten! - The Crimson Kimono - Underworld U.S.A. - Merrill's Marauders - Shock Corridor - The Naked Kiss - (Shark!) - (Dead Pigeon on Beethoven Street) – The Big Red One - White Dog - (Thieves After Dark) - (Street of No Return) - (The Madonna and the Dragon)
© thevoid99 2020
(Winner of the Palme d’Or at the 1939 Cannes Film Festival Awarded Retrospectively at the 2002 Cannes Film Festival)
Based on the novel Trouble Shooter by Ernest Haycox, Union Pacific is the story of a conflict over the Union Pacific Railroad plan where a man schemes to make profits over the construction as a troubleshooter tries to stop it from happening as he’s also dealing with other foes. Directed by Cecil B. DeMille and screenplay by Walter DeLeon, Jesse Lasky Jr., and C. Gardner Sullivan from an adapted story by Jack Cunningham, the film is a western set during the final days of the Civil War to the emergence of the American West where men try to profit from what is to come with those wanting to ensure that progress emerges. Starring Barbara Stanwyck, Joel McCrea, Akim Tamiroff, Robert Preston, Lynne Overman, Anthony Quinn, and Brian Donlevy. Union Pacific is a thrilling and adventurous film from Cecil B. DeMille.
Set in the mid-1860s from the final days of the American Civil War to the moment the Central Pacific railway line and the Union Pacific railway line meet on May of 1869, the film revolves around this monumental event in American history where a group of gamblers and politicians try to scheme their way in the hope that one of the companies succeed in this venture. With the more-established Central Pacific railway wanting to get the glory of being the railroad service for the U.S., President Lincoln authorizes the Union Pacific to do the job from linking the railway from the Atlantic to the Pacific as there’s individuals that want to ensure that Union Pacific fail in their mission. The film’s screenplay largely follows the lives of three individuals in a troubleshooter named Captain Jeff Butler (Joel McCrea), an Irish mailwoman named Mollie Monahan (Barbara Stanwyck) whose father is an engineer for one of the Union Pacific trains, and Dick Allen (Robert Preston) who is a gambler that works with another gambler who is hired by a banker to ensure that trouble emerges for the Union Pacific. Captain Butler and Allen are friends who are both in love with Monahan yet are working in different camps that would eventually cause trouble.
Cecil B. DeMille’s direction is astonishing in terms of its visuals and setting as it does play into the world of the American West. Shot partially on location in Iron Springs, Utah with some of the film shot in studio sets in Hollywood, the film does play into the world of the American West and the sense of change that emerges. DeMille’s direction would include some wide shots of the locations but would maintain a sense of intimacy inside the train cars as well as the saloons through medium shots and close-ups. Yet, there are these intense action sequences that would include miniatures for a sequence late in the film relating to the building of train tracks near snowy landscape would prove to be a marvel to watch. Even in scenes involving shootouts and chases would provide a sense of immediacy into the action as well as in the moments of the suspense where Captain Butler beings to suspect what Allen could be doing. There are also some elements of romance which does give the film a break from the action as it play into the tension between the three protagonists as they also have to cope with the fact that there’s forces that want to ensure that the Union Pacific doesn’t succeed. All of which play into this event that would shape American history when the two railroad companies meet. Overall, DeMille crafts a riveting and exciting film about a troubleshooter dealing with forces trying to stop a monumental event from happening.
Cinematographer Victor Milner does excellent work with the film’s black-and-white cinematography in capturing the brightness of the scenes in the day as well as how the saloons are lit. Editor Anne Bauchens does brilliant work with the editing as it has some unique rhythmic cuts for the action as well as a few transition wipes to play into the sense of adventure. Art directors Roland Anderson and Hans Dreier do amazing work with the look of the saloons as well as the interiors of the train compartments and the places the characters go to. Costume designer Natalie Visart does fantastic work with the costumes from the look of the suits the men wore as well as some of the clothing that the women wore in those times with the exception of the ragged look that Monahan has.
The special effects work of Barney Wolff is terrific for the usage of miniatures for sequences involving trains including one notable sequence set in the snow as well as some of the gunfights in the film. Sound recordists John Cope and Harry Lindgren do superb work with the sound in the way gunfire sounds as well as the atmosphere of the saloons and train compartments. The film’s music by Sigmund Krumgold and John Liepold is wonderful for its sweeping orchestral score that play into the sense of adventure as well as in some of the drama while the rest of the music feature an array of traditional music pieces from the Civil War and its aftermath.
The film’s marvelous cast feature some notable small roles from Harold Goodwin as the telegrapher E.E. Calvin, Henry Kolker as the banker Asa M. Barrows who is the mastermind in scheming against Union Pacific, Francis McDonald as Captain Butler’s superior General Grenville M. Dodge, Robert Barrat and Anthony Quinn as a couple of Campeau’s henchmen, Lynne Overman as a friend of Captain Butler in Leach Overmile who is a comic relief in the film, and Akim Tamiroff in a terrific performance as another of Captain Butler’s friend in Fiesta as the Mexican who provides some funny commentary as well as deal with Campeau’s men. Brian Donlevy is excellent as the scheming gambler Sid Campeau as a man that works for Barrows as he is willing to do whatever he can to ensure that Union Pacific fails by any means necessary.
Robert Preston is brilliant as Dick Allen as a gambler who is a partner of Campeau as well as Captain Butler’s best friend as he’s torn over his loyalty towards the latter as well as the prospect of money from the former which he needs as he’s in love with Monahan. Joel McCrea is amazing as Captain Jeff Butler as a troubleshooter who is trying to ensure that things go well for the Union Pacific as he’s also in love with Monahan as he tries to keep his distance to do his job as he knows what is at stake. Finally, there’s Barbara Stanwyck in an incredible performance as Mollie Monahan as an Irish mailwoman whose father is an engineer for the Union Pacific that finds herself torn between two men as well as wanting to help the Union Pacific as it’s a fiery and charismatic performance from Stanwyck.
Union Pacific is a remarkable film from Cecil B. DeMille. Featuring a great cast, lovely visuals, top-notch special effects, and thrilling music. It’s a film that play into the progress of America in the west as well as what some will do to stop progress from happening for their own selfish reasons. In the end, Union Pacific is a marvelous film from Cecil B. DeMille.
© thevoid99 2018
Based on the story Two Bad Hats by Monckton Hoffe, The Lady Eve is the story of a con artist who boards an ocean liner to con a rich heir only to fall for him. Written for the screen and directed by Preston Sturges, the film is a screwball comedy that is set in an ocean liner where a woman is torn in her feelings for this heir as well as doing the job. Starring Barbara Stanwyck, Henry Fonda, Charles Coburn, Eugene Pallette, Martha O’Driscoll, Melville Cooper, William Demarest, Janet Beecher, and Eric Blore. The Lady Eve is a whimsical and delightful film from Preston Sturges.
The film follows a woman who is part of a trio of con artists with her father and a friend of her father’s as they target the heir of a popular ale brewery who is socially-awkward due to his fascination for snakes rather than women. It’s a film with a simple story as it explore a woman pretending to fall in love with this man only for things to not go her way as she becomes conflicted in her feelings to do her job as well as falling for him. Preston Sturges’ screenplay explores not just who Charles Pike (Henry Fonda) is as this man that just arrived from South America to an ocean liner in carrying a rare snake. He’s also this man who is quite naïve and shy around women until a woman accidentally trips him in Jean Harrington (Barbara Stanwyck) who woos him as she is really targeting him for his money. Jean pretends to be a rich woman with her father (Charles Coburn) pretending to be a colonel yet Pike is accompanied by his minder/valet Muggsy (William Demarest) who is suspicious towards Jean and her father.
Sturges’ script would be filled with some stylish dialogue that is very playful as well as carry the story as much of the first is about Pike’s attraction to Harrington as well as the growing conflict in Harrington as she is on the ship. The film’s first half mainly takes place on the ocean liner from South America to New York City as the second half takes place in parts of the city as well as the countryside where Pike lives with his rich father Horace (Eugene Pallette). It is where the film takes a bit of a change in tone where it would become funnier once Harrington would take part in another con game as it becomes something extremely comical with Pike being the cuckold all of a sudden.
Sturges’ direction definitely has some elements of style though much of the compositions he creates in the film are quite straightforward. Shot mainly in soundstages, Sturges would play into some of the light-hearted moments that goes on throughout the film as he would use some wide shots for scenes involving big crowds or for a party scene during its third act. Yet, he would emphasize mainly on medium shots with some close-ups to play into the moments between Pike and Harrington as they get to know each other or be involved in something comical. Sturges would also allow these scenes to play out in a few minutes for some shots so that it can focus on the actors reciting dialogue and not show too much or cut immediately during a conversation. For the film’s third act revolving around a party, Sturges would create gags that are very inventive as he knows where to show the joke and moments that do bring in big laughs. Especially as it relates to Pike dealing with the situation he’s in as it relates to Harrington as well as the con he is being roped into with Harrington becoming more torn over her love for Pike. Overall, Sturges creates a witty yet heartfelt film about a beautiful con artist falling for her mark in a socially-awkward ale brewery heir.
Cinematographer Victor Milner does excellent work with the film’s black-and-white photography in the usage of lights for many of the interior scenes including the party scene in the third act. Editor Stuart Gilmore does brilliant work with the editing as it is very straightforward in playing up to the humor and some of the dramatic moments it would use some rhythmic cuts for some of the funnier moments of the film. Art directors Hans Dreier and Ernst Fegte do fantastic work with the look of the sets such as the dining room in the ocean liner to the interiors at the Pike family mansion.
The costumes of Edith Head does amazing work with the look of the suits that Pike wears as well as the dresses and gowns of Harrington. The sound work of Harry Lindgren and Don Johnson do terrific work with the sound as it is quite straightforward with the exception of a few created sounds for the ship and cars. The musical direction of Sigmund Krumgold is wonderful as it features an array of music from different composers as the music ranges from some light-hearted orchestral pieces to bits of jazz and the pop music of the times.
The casting by Robert Mayo is great as it feature some notable small roles and appearances from Luis Alberni as Pike’s chef, Robert Grieg as Pike’s butler, Martha O’Driscoll as Pike’s maid, Janet Beecher as Pike’s mother, Melville Cooper as Mr. Harrington’s associate Gerald, and Eric Blore as a fellow con artist who claims to be a royal in Sir Alfred McGlennan Keith. William Demarest is superb as Pike’s minder/valet Muggsy as a man whose job is to watch out for Pike as he is suspicious about Harrington and her father as he provides some very funny moments. Eugene Pallette is terrific as Pike’s father Horace as a man that is trying to make sure his son finds the right woman while providing some big laughs such as a scene about the whereabouts of his breakfast.
Charles Coburn is fantastic as Mr. Harrington as a man pretending to be a colonel in an attempt to swindle Pike from his money as he wonders what his daughter is doing being aware of her own internal conflict. Finally, there’s the duo of Henry Fonda and Barbara Stanwyck in phenomenal performances in their respective roles as Charles Pikes and Jean Harrington. Fonda provides this very low-key approach to his performance as someone that is quite shy and awkward where it his reactions that are funny while he proves to be adept in performing physical stunts. Stanwyck’s performance exudes charm as she says some of the funniest lines as well as be quite seductive and cool where she is a joy to watch. Fonda and Stanwyck together display have some great chemistry and comic timing as they are the highlights of the film.
The Lady Eve is a spectacular film from Preston Sturges that features incredible performances from Henry Fonda and Barbara Stanwyck. Along with its witty script, dazzling comic sequences, and top-notch visuals, it’s a film that is a fun romantic comedy that play with the conventions while providing moments that are funny. In the end, The Lady Eve is a rapturous film from Preston Sturges.
Preston Sturges Films: (The Great McGinty) – (Christmas in July) – Sullivan's Travels - (The Palm Beach Story) – (The Miracle of Morgan’s Creek) – (Hail the Conquering Hero) – (The Great Moment) – (The Sin of Harold Diddlebock) – (Unfaithfully Yours) – (The Beautiful Blond of Bashful Head) – (Vendetta (1950 film)) – (The French, They Are a Funny Race)
© thevoid99 2017
Based on the novel by Ursula Parrott, There’s Always Tomorrow is the story of a toy manufacturer who falls in love a former employee as he feels unloved by his wife and children. Directed by Douglas Sirk and screenplay by Bernard C. Schoenfeld, the film is an exploration into a married man’s decision to leave his family and embark into an affair with someone who cares about him. Starring Fred MacMurray, Barbara Stanwyck, and Joan Bennett. There’s Always Tomorrow is an engrossing yet touching film from Douglas Sirk.
The film plays into the life of a toy manufacturer who deals with the neglect of his family where he meets an old employee as he spends time with her and starts to fall in love unaware that his teenage son believes that an affair is happening. It’s a film that doesn’t require much of plot but rather an exploration into a family man who wants to regain some joy in his life as he feels like whatever plans he has with his wife is pushed aside for their youngest daughter. The film’s screenplay showcases the sense of frustration and ungratefulness that Clifford Groves (Fred MacMurray) endures from his family yet he would find some comfort in his old flame in Norma (Barbara Stanwyck) who had reinvented herself as a successful fashion designer. All Norma wants is to see how well Clifford has done and meet his family only to gain the disdain of his son Vinnie (William Reynolds) and teenage daughter Ellen (Gigi Perreau) who think the affair is happening though Vinnie’s girlfriend Ann (Pat Crowley) thinks that nothing is happening.
Douglas Sirk’s direction is quite simple yet contains some mesmerizing images and compositions into the way Sirk would frame some of the drama. Much of it involves some medium shots, a few wide shots, and some close-ups where Sirk plays into Clifford’s own sense of feeling unappreciated for what he’s done as his family seem to do other things. Sirk’s framing is very tight as he showcases the loneliness that surrounds Clifford while the scenes involving Clifford’s time with Norma are much livelier as the compositions are much looser though the scene where Norma eats with Clifford and her family is very tense. Especially as the drama starts to intensify in the third act when Vinnie and Ellen become very suspicious to the point that they would confront Norma.
Yet, it’s a very poignant scene where it is about not just Norma but Vinnie and Ellen in how they treat their father. What is more startling about the film other than its subject matter of adultery and the neglect of a family is how it ends where it’s very ambiguous which is pretty unusual for a melodrama made in the 1950s. Overall, Sirk crafts a very compelling story about a family man dealing with being neglected as he falls in love with an old flame.
Cinematographer Russell Metty does brilliant work with the film‘s black-and-white photography to convey the melancholic mood that surrounds Clifford while showcasing some unique lighting schemes to display the happiness he conveys when he‘s with Norma. Editor William Morgan does nice work with the editing as it‘s pretty straightforward with its seamless approach to rhythmic cuts to play into the melodrama as the editing also includes some dissolves and fade-outs. Production designer Alexander Golitzen and Eric Orbom, with set decorator Russell A. Gausman and Julia Heron, do amazing work with the look of the home Clifford lives with his family as well as the holiday resort he and Norma were at as they rekindle their friendship.
Costume designer Jay A. Morley Jr. does fantastic work with the design of the gowns from the dresses that Norma wears and creates to the more simpler dresses that Marion, Ellen, and Ann wears. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the scenes such as Clifford and Norma dancing to an old song as well as the sound effects of a toy robot that Clifford hopes to sell. The film’s music by Heinz Roemheld and Herman Stein is superb in its soaring yet somber orchestral score to play into the film‘s melodrama while music supervisor Joseph Gershenson brings in a soundtrack with some classical music and a standard that Clifford and Norma loved.
The film’s excellent cast features some notable small roles from Jane Darwell as the family cook Mrs. Rogers, Race Gentry as Vinnie’s friend Bob who also saw what Vinnie saw about his dad, Myrna Hansen as Bob’s girlfriend Ruth, and Judy Nugent as Clifford’s young daughter Frankie who is always calling on her mother unaware of her actions in causing her mother to neglect her husband. Pat Crowley is terrific as Vinnie’s girlfriend Ann who is troubled by Vinnie’s reaction to what he might’ve seen as she thinks that Norma isn’t a bad person while calling out on Vinnie’s immaturity. Gigi Perreau is wonderful as Clifford and Marion’s teenage daughter Ellen who is confused by the idea that her father is having an affair as she becomes lost in her confusion. William Reynolds is superb as Clifford and Marion’s son Vinnie as a late-teen who might’ve seen or heard as he becomes angry about his father’s supposed affair with Norma only to act in a very immature way.
Joan Bennett is brilliant as Clifford’s wife Marion as this woman who finds herself becoming busy with her youngest daughter as well as other duties as she unknowingly neglects her husband. Barbara Stanwyck is phenomenal as Norma as this old flame of Clifford who has reinvented herself as a successful fashion designer who wants to see what Clifford is up to as she also realizes she’s still in love with him while dealing with the realities of what their affair might cause. Finally, there’s Fred MacMurray in a marvelous performance as Clifford Grove as this very kind, loving man who feels unappreciated by his family for what he’s given them as he finds comfort in Norma where he tries to wrestle with his need to be happy and his devotion to his family.
There’s Always Tomorrow is a remarkable film from Douglas Sirk that is highlighted by the performances of Barbara Stanwyck and Fred MacMurray. Not only is this an intriguing film about adultery but also what would drive a man to risk his own marriage and family life as he becomes neglected by the people he loves. In the end, There’s Always Tomorrow is a splendidly rich film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)
© thevoid99 2014
Based on the novella by James M. Cain, Double Indemnity is the story about an insurance salesman who finds himself in a plot to kill a client for that client’s wife which then leads into all sorts of trouble. Directed by Billy Wilder with a screenplay by Wilder and Raymond Chandler, the film is often considered one of the defining films that would create the suspense genre known as film noir. Starring Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. Double Indemnity is an engrossing yet stylish film from Billy Wilder.
The film is the story about an insurance salesman who meets the wife of a client about an insurance policy where she seduces him to get involved in a plot to kill her husband so she can lots of money from his insurance. Though he takes part in order to help this woman, he becomes consumed with guilt over his actions as one of his co-workers becomes suspicious of what happened to the man. It is a film that is told largely by its protagonist Walter Neff (Fred MacMurray) as the film begins with him driving his car suffering from a bullet wound on his shoulder as he tells his story to his longtime friend and co-worker Barton Keyes (Edward G. Robinson) though a Dictaphone. Neff’s narration drives the story which moves back and forth to Neff in Keyes office and the events that put Neff into total danger that involved the mysterious femme fatale Phyllis Dietrichson (Barbara Stanwyck).
The film’s screenplay by Billy Wilder and Raymond Chandler does have this unique narrative structure that plays into Neff’s guilt and all of the trouble he deals with in being part of a plot to kill Phyllis’ husband (Tom Powers) for some money where Neff tells Phyllis about a clause known as double indemnity which doubles the insurance money if the death is accidental. Neff and Phyllis plans on what to do as Neff is convinced that Phyllis is a victim in a loveless marriage yet things become complicated after the plot when Neff becomes guilty and Keyes looks carefully into the case. The film’s first half is about the plot while its second half is about Neff’s guilt and the idea that Phyllis may have been using him all along. Even as he learns more about Phyllis through her stepdaughter Lola (Jean Heather) who reveals something about Phyllis that makes Neff suspicious as he is also aware that Keyes is getting closer to uncovering the truth.
Part of the script’s brilliance in its storytelling is its language where it has this very stylish dialogue that not only drives the story but also play into the element of mystery. Even in Neff’s narration where this language is crucial to the storytelling as it has a certain rhythm as well. A lot of it is from the style of Raymond Chandler who infuses that sense of time but also emotion into the dialogue where it all plays into some form of melodrama but also the guilt that Neff would carry.
Wilder’s direction is definitely stylish in some respects while he also takes the time to create some simpler shots to play into the drama and the interactions between characters. A lot of which showcases an air of style in some of the scenes where the use of shadows and shades help convey a style in the look of the film. Even in the use of close-ups, two-shots, and medium shots, Wilder’s approach to framing is very succinct in the way he plays the drama and set up the suspense such as the scene in the train where Neff pretends to be Mr. Dietrichson in order to create the illusion that he fell off the train accidentally. All of which is part of the film’s first half where Neff and Phyllis set up the plot to kill her husband and drop his body on the train tracks.
That element of style in Wilder’s direction is one of the aspects of the film that is just mesmerizing to watch in not just the way Phyllis tries to charm Neff but also in the sense of romance that occurs. Yet, things get very strange in some of their meetings at a supermarket where they’re talking as if they don’t know each other. There’s also some pieces that play into the story such as Keyes’ investigation where he is essentially the film’s conscience as he knows that something isn’t right. He is someone who knows every scenario that could happen as he would become the one person in the film that would force Neff to face his crimes that would lead to a chilling climax about what he needed to do. Overall, Wilder creates a very compelling yet suspenseful film about a man who finds himself involved in a murder plot.
Cinematographer John F. Seitz does fantastic work with the film‘s stylish black-and-white photography to convey the sense of brooding atmosphere in some of the interiors including the use of shading to help maintain that tone that carries the film‘s suspense. Editor Doane Harrison does excellent work with the editing with its stylish use of dissolves as well as rhythmic cuts to help build up the air of suspense. Art directors Hans Dreier and Hal Pereira, along with set decorator Bertram C. Granger, do amazing work with the look of Neff‘s apartment as well as the home that Phyllis lives and the office that Neff works at.
Costume designer Edith Head does fabulous work with the costumes with the designs of the dresses the women characters wear. The sound work of Loren Ryder is superb for its low-key atmosphere and sound effects to play into the film‘s suspense. The film’s music by Miklos Rozsa is brilliant for its thrilling orchestral score that includes some eerie pieces to help create that air of suspense and drama as it’s one of the film’s major highlights.
The casting by Harvey Clermont is terrific for the ensemble that is created as it features some notable small roles from Richard Gaines as Neff and Keyes’ boss who thinks something isn’t right, Porter Hall as a man Neff unknowingly meets at the observation car in the train during the scheme, Tom Powers as Mr. Dietrichson, and Byron Barr as Lola’s boyfriend Nino Zachetti whom Keyes suspects might be involved. Jean Heather is wonderful as Lola Dietrichson as a young woman who dislikes her stepmother as she’s convinced that Phyllis is involved in her father’s death as Neff tries to be there for her. Edward G. Robinson is phenomenal as Barton Keyes as he is a man who knows every scenario that might happen as he’s also someone who knows that something isn’t right as Robinson has a great monologue about the way things are as he also invests in a few humorous moments as he is a major standout in the film.
Barbara Stanwyck is amazing as the smoldering femme fatale Phyllis Dietrichson as this very beautiful woman who has this unique presence where she seems like someone in need. Yet, there’s also something about her that is off as it adds to the complexity of her performance. Fred MacMurray is great as Walter Neff as an insurance salesman who is manipulated into helping this woman only to get into some trouble. MacMurray has this sense of humility and darkness to his character that is very unique as he plays someone that would the typical prototype for many characters of film noir as it’s definitely one of his finest roles.
Double Indemnity is an incredible film from Billy Wilder that features remarkable performances from Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. The film is definitely a film that is filled with a lot of intrigue and suspense as well as sense of style that would create the ideas of what would become film noir. Especially in the way it plays with narrative and cinematic language that made the film something much more thanks in parts to the contribution of Raymond Chandler. In the end, Double Indemnity is a tremendous film from Billy Wilder.
Billy Wilder Films: (Mauvaise Graine) - (The Major and the Minor) - (Five Graves to Cairo) - The Lost Weekend - (The Emperor Waltz) - (A Foreign Affair) - Sunset Boulevard - Ace in the Hole - Stalag 17 - (Sabrina) - (The Seven Year Itch) - (The Spirit of St. Louis) - (Love in the Afternoon) - (Witness for the Prosecution) - Some Like It Hot - The Apartment - (One, Two, Three) - (Irma La Douce) - (Kiss Me, Stupid) - (The Fortune Cookie) - (The Private Lives of Sherlock Holmes) - (Avanti!) - (The Front Page) - (Fedora) - (Buddy Buddy)
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