Double Indemnity
Double Indemnity was one of the first Film Noir films I decided to research as it was one of the few that we watched in class. After looking it up and gaining more knowledge about it, I found that it was rated quite highly on IMDb with an 8.4/10 rating. My decision to further pursue research on this film was then justified as it was ranked first on IMDb's list of “Most Popular Film-Noir Feature Films”. Double Indemnity is a 1944 American Film Noir directed by Billy Wilder and tells the story of an experienced salesman (Walter Neff) and the seductive wife of one of his clients (Phyllis Dietrichson), and how Mrs. Dietrichson wants her husband dead after her and Neff have an affair. It is widely regarded as a classic and is often cited as a paradigmatic film noir, having set the standard for the films that have followed within this genre. Below are the notes I have taken on the film:
In one of the opening shots, we can see Walter Neff walking across a balcony as the camera pans following his movement. The lighting in this shot creates a shadow behind Neff which creates a mysterious atmosphere, engaging the audience. This is a very popular technique used in the film noir genre as shadows are always used to create emphasis, and can be done using hard lighting. This hard lighting is also known as a chiaroscuro style of lighting, and is used to create a sense of depth and emphasis on shadows, making it the main point of attention within the shot.
In this shot we are introduced to Phyllis Dietrichson, who is shown Femme Fatale of the story. Here we can see evidence of a halo effect, as the lighting within the shot makes the woman look as if she is glowing. This generates the image and the idea of her being an angel, which is similar to how Walter Neff describes her when he first sees her. This is further suggested through her having a white towel around her as white is a colour that implies purity and innocence, which are qualities that an angel possesses.
Here we can see a cross dissolve between two scenes which signals a transition to a flashback. This is useful as it makes the switch between the two scenes very smooth and non-distracting, and also gives the audience an idea of what they can look forward to in the next scene. Cross dissolves are also very useful during voiceovers as the sound bridge between the two scenes creates a sense of continuity, making it very easy for the audience to follow the narrative of the story.
This shot was part of a montage that was used to convey time passing by. Montage editing is a very useful tool when creating films as it gives the audience different perspectives and allows them to view different events occurring one after another or at the same time. Various different types of shots and angles are used during this montage as they put emphasis and focus on particular objects that are important to the shot. For example, in this shot, Walter taking on the phone is composed in a medium wide shot, to show that the attention of the audience must be on him.
The main reason I chose to talk about this shot was because of the Venetian blind effect that is used within it. This is something that I find extremely interesting and is something that I am very keen to adopt within my final film, as it creates an atmosphere of being trapped and confined. This is exactly the way that Neff feels when Keyes tells him what he thinks really happened in the Dietrichson case.
This over-the-shoulder shot towards the end of the film highlights the sweat building on Neff’s forehead, suggesting his nervousness and discomfort. In addition, this over-the-shoulder shot is also a close up, which highlights Neff’s facial expression while he is confessing to Keyes. This is key to the audience as they can understand what is going through the character’s mind.
