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Femme fatales in literature
Double indemnity analysis
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Recommended: Femme fatales in literature
Few genres have such a distinctive look and feel as noir fiction. Some of its features include - seedy urban underbellies, trench-coat-clad private investigators, cigarettes, femme fatales, nihilistic emptiness, loveless sex and unhappy endings. The characters of noir fiction are incredibly unpleasant and so is the overall tone of the genre, yet the genre is undeniably compelling and has an allure like no other genre ever will. ‘Double Indemnity’ by James M. Cain is a prime example of noir fiction at its finest. It certainly consists of all the noir conventions - Walter Huff plays the role of the conflicted anti hero and Phyllis Nirdlinger is the deadly femme fatale who uses her sexuality to manipulate the protagonist. The ending is unhappy as both Walter and Phyllis end up committing suicide after attempting in vain to kill each other first. …show more content…
Nirdlinger and she did not even spare children in her greed for property. Fred Johnson, editor for Standout Books says that -“The great thing about noir is that you’re challenged as a writer to craft characters who are irredeemably unpleasant and yet also compelling – characters who the reader is simultaneously repelled by and drawn toward. If you can make a reader root for your troubled, violent, and cynical protagonist despite themselves, then you’ve succeeded as a noir writer.” Phyllis Nirldlinger is by no means the protagonist but the plot certainly revolves around her. The most important thing to understand about Double Indemnity is Phyllis’ character which was brilliant and so relevant and necessary at the time. Post war America was struggling with the addition of so many women to the labor force. Men coming back from war were entering a societal structure much different from the one they left at the beginning of the war. Women were experiencing a newfound independency and liberation and were
No longer is he this big, tall, smart man. He is now sweaty, hunched over in a chair, knowing that he has lost and plans to run away. Much like a husband on his death bed telling his wife to take care of his kids, Walter begs Keyes to protect Nino and Phyllis’ daughter, Lola (Jean Heather), after he is gone. This final sequence now shows Keyes dominating much of the frame, he is now the bigger figure, he has the power. Walter is slouched in the chair looking up to him now, completely opposite of their roles throughout the bulk of the movie. Though obviously stunned that Walter is a killer, Keyes still pities him. He does not try to physically restrain Walter nor does he call the police on him, he knows with the bullet wound, Walter will not make it to his destination of crossing the border. Walter struggles to the door and finally collapses, indicating his complete failure. Keyes follows him and kneels next to him, still dominating the frame. While we only see Walter’s face and torso, we can see pretty much Keyes’ entire body looking down to him. We get a almost flirtatious final conversation between the two as Walter explains the reason why Keyes could not figure out it was him, because they were too close, sitting across the desk from each other. Keyes responds by saying they were “closer than that”, indicating the depth of their relationship. Walter repeats a line he said earlier in the film, “I love you too”, before struggling to light a cigarette. Although it was Walter’s job to light Keyes’ cigarettes throughout the entire movie, everything has come full circle, the power has shifted, and Keyes lights Walter’s cigarette and the film ends. Keyes realizes his “lover” is gone and he must step up to run things now. He cannot be helpless and not be able to light his cigarettes now; he must help Walter light
Billy Wilder’s film Double Indemnity uses a considerable amount of German Expressionism techniques. A crystal clear example of this is at the end of the film when Walter goes to meet Phyllis at her house, when he opens the door a long and sharp shadow appears across the wall. This is a technique used in one of the most famous german expressionism films Cabinet of Dr. Caligari. In order to get this effect, Wilder is using low-key lighting so the shadow is obvious to the audience. In this film, long and sharp shadows as well as inky blackness often appear on the screen, this is a major characteristic of german expressionist films. The mise en scene reinforces the darkness in the style and tone. These films emphasize
In 1943, James M. Cain wrote one of his most selling novella “Double Indemnity”. The following year, Billy Wilder, a movie director, with the help of Raymond Chandler, a screenwriter, took the book and adapted it to the big screen while keeping the original title. Eventually, the movie became very popular and nowadays, “Double Indemnity”, widely regarded as a classic, is often considered as a paradigmatic film noir since it has set the standard for films that followed in that genre. The movie adaptation is significantly more effective in creating the mood of suspense and making the overall story tenser through the changes made to the main characters, namely Walter Huff, Barton Keyes and Phyllis Nirdlinger.
In Billy Wilder’s 1944 blockbuster hit Double Indemnity, a fast-talking insurance salesman named Walter Neff (Fred MacMurray) visits the home of the seductive Phyllis Dietrichson (Barbara Stanwyck) to renew the insurance policy on her husband’s automobiles. A romantic affair shortly ensues, and Walter is soon coerced by Phyllis into plotting a murder. Walter then comes up with an idea to receive double the amount Phyllis had previously intended, and they eventually deceive Mr. Dietrichson (Tom Powers) by making him sign a double indemnity insurance policy which in return states that the widow will receive full compensation on behalf of the bearer’s death. Mr. Dietrichson’s death is then made to look accidental; however, all does not go according to plan when Barton Keyes (Edward G. Robinson), a diligent insurance investigator conducts an examination of the case file. It is a tale of love and betrayal where Walter and Phyllis inevitably face the repercussions of their actions. The story transitions from the present to the past with the use of flashbacks. The voice of Walter Neff is used as a narrative style in the form of an office memorandum which is integrated throughout the film. The movie opens and ends with Walter as he tells the story of killing a man to Keyes through the Dictaphone. Billy Wilder uses money, a woman and the ability to cheat the system to denote Walter Neff’s motives to commit the perfect crime.
American women in World War II brought significant changes which although people expectation that life would go back to normal they modify their lifestyle making women free of society pressure and norms, because the war changed the traditional way to see a woman and their roles leading to a new society where women were allowed to study and work in the same way than men. Creating a legacy with the principles of today’s society.
“At the war’s end, even though a majority of women surveyed reported wanted to keep their jobs, many were forced out by men returning home and by the downturn in demand for war materials… The nation that needed their help in
Never before this time had women across the country been given the chance to express themselves and hold responsibilities outside their own households. They felt that they were needed and enjoyed their ability to contribute to the war effort. They were given opportunities to prove to the male society that they could be independent and financially secure on their own. These new opportunities were not only for the white women of the population but also the blacks. World War Two acted as a catalyst for change for the women of the United States. Many feel that it was the beginning of a whole new era for the Women of America.
When the war started, women had to take over the jobs of men and they learned to be independent. These women exemplified the beginning of change. Coupled with enfranchisement and the increased popularity of birth control, women experienced a new liberation. When the men returned from the war they found competition from the newly liberated woman who did not want to settle for making a home (Melman 17). This new class of women exercised a freedom that shocked society.
The 1920’s was a period of extremely economic growth and personal wealth. America was a striving nation and the American people had the potential to access products never manufactured before. Automobile were being made on an assembly line and were priced so that not just the rich had access to these vehicles, as well as, payment plans were made which gave the American people to purchase over time if they couldn't pay it all up front. Women during the First World War went to work in place of the men who went off to fight. When the men return the women did not give up their positions in the work force.
The start of the war era came on the heels of a decade when women had seemingly taken a step backward in social and economic progress. The depression of the 1930's had devastated the American economy. Women, especially married women, had bore the largest share of the burden. To help male workers get back on the job, national leaders called for married women in two-income families to give up their jobs. Several states had passed laws barring women from holding state jobs.
Yet, at the end of the war, the same ideas that encouraged women to accept new roles had an averse effect on women, encouraging them to leave the workforce. The patriotism promoted by propaganda in the 1940s, encouraged Americans to support the war effort and reinforced the existing patriarchal society. Propaganda's use of patriotism not only increased loyalty to America during the war, but also, increased loyalty to the traditional American patriarchal values held in society. Many factors influenced the changes in women’s employment. The change that occurred went through three major phases: the prewar period in the early 1940s, the war years from 1942-1944, and the post war years from around 1945-1949.
However, when the war was over, and the men returned to their lives, society reverted back to as it had been not before the 1940s, but well before the 1900s. Women were expected to do nothing but please their husband. Women were not meant to have jobs or worry about anything that was occurring outside of their own household.... ... middle of paper ...
Adapted from the novella written by James M. Cain, Double Indemnity is a melodramatic film noir that highlights the conflict its characters face through adultery and murder which develops from the dissatisfaction and alienation that arose in the era of modernity as shown in most noir films. Unlike most noir films, Double Indemnity set the bar in terms of structural themes to follow and elements that eventually came to be considered essential in the noir genre. The film was seen to be a full embodiment of what the genre should be. Double Indemnity is an archetypal noir film, which portrays noir elements through its style, the characters, its writers’ backstory and the history of Los Angeles, the city in which it is set. This essay will examine how Los Angeles is integrated not only into the location but also into the storyline of the characters and their motivations but also the filmmakers’ lives. It does this through characteristic noir motifs like “the urban cultural landscape, the lack of rootedness of the characters, and the self-deceptions that center their world” (p. 437) affect the protagonists in the film. Double Indemnity’s use of Los Angeles as its primary location exposes the innate decadence and decay of the city through film noir stylistic elements. Billy Wilder directed Double Indemnity and the film became the archetypal noir film because it embodied all the characteristics of a typical noir film, which include “claustrophobia, paranoia, despair and nihilism” (Place and Peterson, p. 327) course kit source. Los Angeles, the city used primarily as the location in the film becomes not merely a backdrop but a character in the film through its physical and implied characteristics. The context through the stories of Wild...
This was the start of a new age in the history for women. Before the war a woman’s main job was taking care of her household more like a maid, wife and mother. The men thought that women should not have to work and they should be sheltered and protected. Society also did not like the idea of women working and having positions of power in the workforce but all that change...
During the Great War and the huge amount of men that were deployed created the need to employ women in hospitals, factories, and offices. When the war ended the women would return home or do more traditional jobs such as teaching or shop work. “Also in the 1920s the number of women working raised by fifty percent.” They usually didn’t work if they were married because they were still sticking to the role of being stay at home moms while the husband worked and took care of the family financially. But among the single women there was a huge increase in employment. “Women were still not getting payed near as equally as men and were expected to quit their jobs if they married or pregnant.” Although women were still not getting payed as equally it was still a huge change for the women's