Tautly narrated and excruciatingly suspenseful, Double Indemnity gives us an X-ray view of guilt, of duplicity, and of the kind of obsessive, loveless love that devastates everything it touches. First published in 1935, this novel reaffirmed James M. Cain as a virtuoso of the roman noir.
I drove out to Glendale to put three new truck drivers on a brewery company bond, and then I remembered this renewal over in Hollywoodland. I decided to run over there. That was how I came to this House of Death, that you've been reading about in the papers. It didn't look like a House of Death when I saw it. It was just a Spanish house, like all the rest of them in California, with white walls, red tile roof, and a patio out to one side. It was built cock-eyed. The garage was under the house, the first floor was over that, and the rest of it was spilled up the hill any way they could get it in. You climbed some stone steps to the front door, so I parked the car and went up there. A servant poked her head out. "Is Mr. Nirdlinger in?"
"I don't know, sir. Who wants to see him?"
"Mr. Huff."
"And what's the business?"
"Personal."
Getting in is the tough part of my job, and you don't tip what you came for till you get where it counts. "I'm sorry, sir, but they won't let me ask anybody in unless they say what they want."
It was one of those spots you get in. If I said some more about "personal" I would be making a mystery of it, and that's bad. If I said what I really wanted, I would be laying myself open for what every insurance agent dreads, that she would come back and say, "Not in." If I said I'd wait, I would be making myself look small, and that never helped a sale yet. To move this stuff, you've got to get in. Once you're in, they've got to listen to you, and you can pretty near rate an agent by how quick he gets to the family sofa, with his hat on one side of him and his dope sheets on the other.
"I see. I told Mr. Nirdlinger I would drop in, but-never mind. I'll see if I can make it some other time."
It was true, in a way. On this automobile stuff, you always make it a point that you'll give a reminder on renewal, but I hadn't seen him for a year. I made it sound like an old friend, though, and an old friend that wasn't any too pleased at the welcome he got. It worked. She got a worried look on her face. "Well-come in, please."
If I had used that juice trying to keep out, that might have got me somewhere.
I pitched my hat on the sofa. They've made a lot of that living room, especially those "blood-red drapes." All I saw was a living room like every other living room in California, maybe a little more expensive than some, but nothing that any department store wouldn't deliver on one truck, lay out in the morning, and have the credit O.K. ready the same afternoon. The furniture was Spanish, the kind that looks pretty and sits stiff. The rug was one of those 12 x 15's that would have been Mexican except it was made in Oakland, California. The blood-red drapes were there, but they didn't mean anything. All these Spanish houses have red velvet drapes that run on iron spears, and generally some red velvet wall tapestries to go with them. This was right out of the same can, with a coat-of-arms tapestry over the fireplace and a castle tapestry over the sofa. The other two sides of the room were windows and the entrance to the hall.
"Yes?"
A woman was standing there. I had never seen her before. She was maybe thirty-one or -two, with a sweet face, light blue eyes, and dusty blonde hair. She was small, and had on a suit of blue house pajamas. She had a washed-out look.
"I wanted to see Mr. Nirdlinger."
"Mr. Nirdlinger isn't in just now, but I am Mrs. Nirdlinger. Is there something I could do?"
There was nothing to do but spill it. "Why no, I think not, Mrs. Nirdlinger, thanks just the same. Huff is my name, Walter Huff, of the General Fidelity of California. Mr. Nirdlinger's automobile coverage runs out in a week or two, and I promised to give him a reminder on it, so I thought I'd drop by. But I certainly didn't mean to bother you about it."
"Coverage?"
"Insurance, I just took a chance, coming up here in the daytime, but I happened to be in the neighborhood, so I thought it wouldn't hurt. When do you think would be a good time to see Mr. Nirdlinger? Could he give me a few minutes right after dinner, do you think, so I wouldn't cut into his evening?"
"What kind of insurance has he been carrying? I ought to know, but I don't keep track."
"I guess none of us keep track until something happens. Just the usual line. Collision, fire, and theft, and public liability."
"Oh yes, of course."
"It's only a routine matter, but he ought to attend to it in time, so he'll be protected."
"It really isn't up to me, but I know he's been thinking about the Automobile Club. Their insurance, I mean."
"Is he a member?"
"No, he's not. He's always intended to join, but somehow he's never got around to it. But the club representative was here, and he mentioned insurance."
"You can't do better than the Automobile Club. They're prompt, liberal in their view of claims, and courteous straight down the line. I've not got a word to say against them."
That's one thing you learn. Never knock the other guy's stuff.
"And then it's cheaper."
"For members."
"I thought only members could get it."
"What I mean is this. If a man's going to join the Automobile Club anyway, for service in time of trouble, taking care of tickets, things like that, then if he takes their insurance too, he gets it cheaper. He certainly does. But if he's going to join the club just to get the insurance, by the time he adds that $16 membership fee to the premium rate, he's paying more. Figure that in, I can still save Mr. Nirdlinger quite a little money."
She talked along, and there was nothing I could do but go along with it. But you sell as many people as I do, you don't go by what they say. You feel it, how the deal is going. And after a while I knew this woman didn't care anything about the Automobile Club. Maybe the husband did, but she didn't. There was something else, and this was nothing but a stall. I figured it would be some kind of a proposition to split the commission, maybe so she could get a ten-spot out of it without the husband knowing. There's plenty of that going on. And I was just wondering what I would say to her. A reputable agent don't get mixed up in stuff like that, but she was walking around the room, and I saw something I hadn't noticed before. Under those blue pajamas was a shape to set a man nuts, and how good I was going to sound when I started explaining the high ethics of the insurance business I didn't exactly know.
But all of a sudden she looked at me, and I felt a chill creep straight up my back and into the roots of my hair. "Do you handle accident insurance?"
Maybe that don't mean to you what it meant to me. Well, in the first place, accident insurance is sold, not bought. You get calls for other kinds, for fire, for burglary, even for life, but never for accident. That stuff moves when agents move it, and it sounds funny to be asked about it. In the second place, when there's dirty work going on, accident is the first thing they think of. Dollar for dollar paid down, there's a bigger face coverage on accident than any other kind. And it's the one kind of insurance that can be taken out without the insured knowing a thing about it. No physical examination for accident. On that, all they want is the money, and there's many a man walking around today that's worth more to his loved ones dead than alive, only he don't know it yet.
"We handle all kinds of insurance."
She switched back to the Automobile Club, and I tried to keep my eyes off her, and couldn't. Then she sat down. "Would you like me to talk to Mr. Nirdlinger about this, Mr. Huff?"
Why would she talk to him about his insurance, instead of letting me do it? "That would be fine, Mrs. Nirdlinger."
"It would save time."
"Time's important. He ought to attend to this at once."
But then she crossed me up. "After he and I have talked it over, then you can see him. Could you make it tomorrow night? Say seven-thirty? We'll be through dinner by then."
"Tomorrow night will be fine."
"I'll expect you."
I got in the car bawling myself out for being a fool just because a woman had given me one sidelong look. When I got back to the office I found Keyes had been looking for me. Keyes is head of the Claim Department, and the most tiresome man to do business with in the whole world. You can't even say today is Tuesday without he has to look on the calendar, and then check if it's this year's calendar or last year's calendar, and then find out what company printed the calendar, and then find out if their calendar checks with the World Almanac calendar. That amount of useless work you'd think would keep down his weight, but it don't. He gets fatter every year, and more peevish, and he's always in some kind of a feud with other departments of the company, and does nothing but sit with his collar open, and sweat, and quarrel, and argue, until your head begins spinning around just to be in the same room with him. But he's a wolf on a phony claim.
When I got in there he got up and began to roar. It was a truck policy I had written about six months before, and the fellow had burned his truck up and tried to collect. I cut in on him pretty quick.
"What are you beefing to me for? I remember that case. And I distinctly remember that I clipped a memo to that application when I sent it through that I thought that fellow ought to be thoroughly investigated before we accepted the risk. I didn't like his looks, and I won't-"
"Walter, I'm not beefing to you. I know you said he ought to be investigated. I've got your memo right here on my desk. That's what I wanted to tell you. If other departments of this company would show half the sense that you show-"
"Oh."
That would be like Keyes, that even when he wanted to say something nice to you, he had to make you sore first.
"And get this, Walter. Even after they issued the policy, in plain disregard of the warning on your memo, and even with that warning still looking them in the face, day before yesterday when the truck burned-they'd have paid that claim if I hadn't sent a towcar up there this afternoon, pulled the truck out, and found a pile of shavings under the engine, that proved it up on him that he started the fire himself."
"Have you got him?"
"Oh, he confessed. He's taking a plea tomorrow morning, and that ends it. But my point is, that if you, just by looking at that man, could have your suspicions, why couldn't they-! Oh well, what's the use? I just wanted you to know it. I'm sending a memo to Norton about it. I think the whole thing is something the president of this company might very well look into. Though if you ask me, if the president of this company had more . . ."
He stopped and I didn't jog him. Keyes was one of the holdovers from the time of Old Man Norton, the founder of the company, and he didn't think much of young Norton, that took over the job when his father died. The way he told it, young Norton never did anything right, and the whole place was always worried for fear he'd pull them in on the feud. If young Norton was the man we had to do business with, then he was the man we had to do business with, and there was no sense letting Keyes get us in dutch with him. I gave Keyes' crack a dead pan. I didn't even know what he was talking about.
When I got back to my office, Nettie, my secretary, was just leaving. "Good night, Mr. Huff."
"Good night, Nettie."
"Oh-I put a memo on your desk, about a Mrs. Nirdlinger. She called, about ten minutes ago, and said it would be inconvenient for you to call tomorrow night about that renewal. She said she'd let you know when to come."
"Oh, thanks."
She went, and I stood there, looking down at the memo. It crossed my mind what kind of warning I was going to clip to that application, if, as, and when I got it.
If any.
CHAPTER 2
Three days later she called and left word I was to come at three-thirty. She let me in herself. She didn't have on the blue pajamas this time. She had on a white sailor suit, with a blouse that pulled tight over her hips, and white shoes and stockings. I wasn't the only one that knew about that shape. She knew about it herself, plenty. We went in the living room, and a tray was on the table. "Belle is off today, and I'm making myself some tea. Will you join me?"
"Thank you, no, Mrs. Nirdlinger. I'll only be a minute. That is, if Mr. Nirdlinger has decided to renew. I supposed he had, when you sent for me." Because it came over me that I wasn't surprised that Belle was off, and that she was just making herself some tea. And I meant to get out of there, whether I took the renewals with me or not.
"Oh, have some tea. I like tea. It makes a break in the afternoon."
"You must be English."
"No, native Californian."
"You don't see many of them."
"Most Californians were born in Iowa."
"I was myself."
"Think of that."
The white sailor suit did it. I sat down. "Lemon?"
"No thanks."
"Two?"
"No sugar, just straight."
"No sweet tooth?"
Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson Barbara Stanwyck seduces insurance agent Walter Neff Fred MacMurray into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes Edward G. Robinson, a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making.
Running time: 107 minutes
Cast:
Fred MacMurray as Walter Neff
Barbara Stanwyck as Phyllis Dietrichson
Edward G. Robinson as Barton Keyes
Porter Hall as Mr Jackson
Jean Heather as Lola Dietrichson
Tom Powers as Mr Dietrichson
Byron Barr as Nino Zachetti
Richard Gaines as Edward S. Norton, Jr.
Fortunio Bonanova as Sam Garlopis
John Philliber as Joe Peters
Raymond Chandler as man reading book (cameo)
Trailer:
Clips:
This is film noir at its best. The chemistry, the dialogue, the acting, the directing, and everything in between is absolutely perfect. There's just no way to say it better. If you haven't seen it and love a true classic, then you definitely need to check this film out.
RATING:
Author Bio:
James Mallahan Cain was an American journalist and novelist. Although Cain himself vehemently opposed labelling, he is usually associated with the hardboiled school of American crime fiction and seen as one of the creators of the 'roman noir'.
He was born into an Irish Catholic family in Annapolis, Maryland, the son of a prominent educator and an opera singer. He inherited his love for music from his mother, but his high hopes of starting a career as a singer himself were thwarted when she told him that his voice was not good enough.
After graduating from Washington College where his father, James W. Cain served as president, in 1910, he began working as a journalist for the Baltimore Sun.
He was drafted into the United States Army and spent the final year of World War I in France writing for an Army magazine. On his return to the United States he continued working as a journalist, writing editorials for the 'New York World' and articles for 'American Mercury'. He also served briefly as the managing editor of 'The New Yorker', but later turned to screenplays and finally to fiction.
Although Cain spent many years in Hollywood working on screenplays, his name only appears on the credits of three films, 'Algiers', 'Stand Up and Fight', and 'Gypsy Wildcat'.
His first novel (he had already published 'Our Government' in 1930), 'The Postman Always Rings Twice' was published in 1934. Two years later the serialized, in 'Liberty Magazine', 'Double Indemnity was published.
He made use of his love of music and of the opera in particular in at least three of his novels: 'Serenade' (about an American opera singer who loses his voice and who, after spending part of his life south of the border, re-enters the States illegally with a Mexican prostitute in tow), 'Mildred Pierce' (in which, as part of the subplot, the only daughter of a successful businesswoman trains as an opera singer) and 'Career in C Major', a short semi-comic novel about the unhappy husband of an aspiring opera singer who unexpectedly discovered that he has a better voice than she does.
He continued writing up to his death at the age of 85, his last three published works, 'The Baby in the Icebox' (1981), Cloud Nine (1984) and The Enchanted Isle (1985) being published posthumously. However, the many novels he published from the late 1940s onward never quite rivaled his earlier successes.
This is film noir at its best. The chemistry, the dialogue, the acting, the directing, and everything in between is absolutely perfect. There's just no way to say it better. If you haven't seen it and love a true classic, then you definitely need to check this film out.
RATING:
James Mallahan Cain was an American journalist and novelist. Although Cain himself vehemently opposed labelling, he is usually associated with the hardboiled school of American crime fiction and seen as one of the creators of the 'roman noir'.
He was born into an Irish Catholic family in Annapolis, Maryland, the son of a prominent educator and an opera singer. He inherited his love for music from his mother, but his high hopes of starting a career as a singer himself were thwarted when she told him that his voice was not good enough.
After graduating from Washington College where his father, James W. Cain served as president, in 1910, he began working as a journalist for the Baltimore Sun.
He was drafted into the United States Army and spent the final year of World War I in France writing for an Army magazine. On his return to the United States he continued working as a journalist, writing editorials for the 'New York World' and articles for 'American Mercury'. He also served briefly as the managing editor of 'The New Yorker', but later turned to screenplays and finally to fiction.
Although Cain spent many years in Hollywood working on screenplays, his name only appears on the credits of three films, 'Algiers', 'Stand Up and Fight', and 'Gypsy Wildcat'.
His first novel (he had already published 'Our Government' in 1930), 'The Postman Always Rings Twice' was published in 1934. Two years later the serialized, in 'Liberty Magazine', 'Double Indemnity was published.
He made use of his love of music and of the opera in particular in at least three of his novels: 'Serenade' (about an American opera singer who loses his voice and who, after spending part of his life south of the border, re-enters the States illegally with a Mexican prostitute in tow), 'Mildred Pierce' (in which, as part of the subplot, the only daughter of a successful businesswoman trains as an opera singer) and 'Career in C Major', a short semi-comic novel about the unhappy husband of an aspiring opera singer who unexpectedly discovered that he has a better voice than she does.
He continued writing up to his death at the age of 85, his last three published works, 'The Baby in the Icebox' (1981), Cloud Nine (1984) and The Enchanted Isle (1985) being published posthumously. However, the many novels he published from the late 1940s onward never quite rivaled his earlier successes.
Film
