Double Indemnity

I've seen Double Indemnity before, but since Universal sucks, I try to watch it whenever TCM airs it, because I know I won't be able to choose when I'll be able to see it again. When I first saw it, many moons ago, I really loved it, but I didn't know much about noir, or even films in general. It's funny, no matter how much you learn, you can still look a few months back and think about how ignorant you were in terms of the language of cinema back then.

Now, I can really appreciate how great Double Indemnity is. The tension that Wilder can evoke when Phyliss is hiding behind Neff's door, and when Neff sees the man from the train sitting outside Keyes' office. I can see how well the lighting adds to the mood. For instance, in the scenes in the Dietrichson home, where the light filters through the window blinds, or on the many instances when a character walks into a darkened room, and you can see their silhouette in the light pouring through the doorway they're standing in.

On the second viewing, you're practically slapping your forehead, wondering why you didn't realize Phyliss was planning everything from the beginning; appearing at the door in a towel, crossing her legs so her anklet catches Neff's eyes (because she knows he'll be checking out her legs), her sexual innuendo and double entendres. Now, I realize how Stanwyck came to become the mother of all Black Widows to grace the screen afterwards.

Of course, the first thing you notice in a film is the opening, and Double Indemnity's really grabs you by presenting an unlikely scenario. Why is this guy driving so maniacally, just to end up at a normal-looking Insurance Office? And why is he here so late? You could understand if it was a hospital, police station, or perhaps the home of the person who's just double-crossed him and left him for dead. But, an Insurance Office is just too...boring. You're really glued from the beginning, wondering what's in the office that he's so desperate to get to. As you'll find out, it's not something he's eager to get, as it is something he's eager to leave behind; his conscience, before he dies from his wounds.