Phyllis seen briefly, clad demurely in a towel. Otherwise her seductive affair with Walter Neff is all talk, mood, and innuendo.
A scene of adultery is implied. A married woman visits another man’s apartment. They embrace and kiss. The scene fades to a later moment where the man seated on a sofa, smoking, and the woman seated on the other end of the sofa, fixing her makeup.


Film review:Translated by www.rabudo-ru.com


Is double indemnity the greatest black film in Hollywood? Maybe. At least, for more than 20 years before the appearance of Bonnie and Clyde, Neff and Phyllis were the most famous murderers in Hollywood.

The publication of double indemnity was not smooth. Billy Wilder not only suffered many setbacks in the selection of actors, but also his golden partner, CO screenwriter Charles Brackett, refused to participate in the writing because the story was too disgusting. Wilder had to go to James M Kane, the author of double indemnity, but Kane had signed an agreement with others, Just when Wilder was having a headache about screenwriting, producer heathrom threw him a Book – this is Raymond Chandler’s “long night dream”. After reading “long night dream”, wilder couldn’t wait to see the author of the book. In that case, Billy Wilder, the best screenwriter in Hollywood at that time, And Raymond Chandler, who is about to become the best screenwriter in Hollywood – a gorgeous meeting.

Wilder and Chandler started working together. Although Chandler was already a famous detective novelist at this time, he was completely a rookie in the screenwriting. He participated in the screenwriting of double compensation just for money, because he hated everything about Billy Wilder – he couldn’t stand Wilder calling himself “Ray” instead of “Mr. Chandler”, He suspected that Wilder had kidney or genital problems because he went to the toilet every 15 minutes (although Wilder was avoiding Chandler’s puffing), and he hated Wilder’s hat in the office because it made him feel that he was going out soon until many years later, Chandler described his time with Wilder as “the worst time of his life”. But Wilder tolerated Chandler (at least until double indemnity was finished, and he made a film mocking Chandler immediately after double indemnity, the lost weekend). He appreciated Chandler’s talent and said he “had lightning on every page”. He taught Chandler to write, turning him from a rookie to the hottest screenwriter in Hollywood. They got along badly, but even so, they worked together to create one of the greatest plays in Hollywood history.

“I killed him for money and for women. I didn’t get money or women. I found that I couldn’t hear my footsteps. Was that the footsteps of the dead?” In double reparation, McMurray reads the dialogue written by Chandler in a low voice, which makes every sentence of a murderer full of poetry, and the lightning on each page makes wyder’s dark scenes full of tangles. Chandler is not only the worst detective story maker in history, but also the greatest detective character creator and dialogue writer in history. The most famous story about the former is that Howard Hawkes and Humphrey Bogart quarreled over the cause of death of a driver in Chandler’s most famous detective novel “long night dream”, so they went to ask the screenwriter William Faulkner. Unexpectedly, Faulkner said he didn’t remember, so they had to call Chandler, Chandler’s answer was, “I don’t know. He’s dead.” As for the latter, you only need to read double compensation.

Chandler, who was brought into Hollywood by Billy Wilder, only does two things every day: writing a script for Hollywood and writing everything other than a script to ridicule Hollywood. Later, Chandler stopped writing scripts for Hollywood, but his sarcasm at Hollywood did not stop until the day he died. In 1959, Chandler died with such a halo: the greatest detective novelist in the history of literature and the greatest black film screenwriter in the history of film.

Before double indemnity, Billy Wilder had only made two films that were not very famous as a director. But wilder, who had been writing a script for Howard Hawkes, certainly didn’t know the famous saying of the former: “a good film only needs three good shots and no bad shots.” Wilder only abides by half of this sentence, so double compensation has all the good shots, and there is no bad shot; Therefore, double compensation is no longer just a good film, but a Hollywood film textbook.

Billy Wilder’s greatness is that he makes a film about murder surpass murder, and makes a film without a naked lens full of flesh. Before “double reparation”, people’s only understanding of the expression form of the murder film was Hitchcock’s “MAC guffin”. However, Billy Wilder asked the murderer to calmly tell the facts of his crime in the first person at the beginning of the film. As the plot unfolds, people find that the motives of the insurance salesman and the rich man’s wife are unjust, but they can’t help worrying about them. They sweat that they can avoid the investigation of “detective” Keith. The moral boundary is confused and blurred by the gray scenes in the film. At the end, when Keith lights naif a cigarette, people have forgotten the murder, They discovered the love between the murderer and the detective. People hoped that neve would not die, but the Hayes code of the United States at that time did not agree (this code was abolished in the United States in 1966, but it still guides China’s great GD General Administration), and even Billy Wilder did not agree.

Billy Wilder never covered up the affair between neve and Phyllis, but he was full of restraint in dealing with this problem (of course, on the one hand, it was also because of the Hayes code). We didn’t see any “scenes of behavior”, but saw them holding together. Then the camera turned, neve was lying on the sofa with his legs tilted, and Phyllis was lazily mending his makeup. Wilder’s abstinence is not only in some scenes, but full of the whole film, so there is no redundant scene in double compensation. At that time, the favorite words of Hollywood film critics were “let me save the film with a pair of scissors”, but no one said this to double compensation.

The ending of the first shooting of “double compensation” is completely different from now. Naif was tried in court and then put in the gas chamber, and Keith witnessed it with his own eyes. But Wilder changed his mind later. He cut off all the original ending, and then made up the current one: Neff fell next to the elevator, and Keith came and lit the last cigarette for him – before that, Neff had always lit Keith.

It was this revision that showed Billy Wilder’s amazing talent as a screenwriter, so that later even the original author of the novel Kane had to admit that this was the first time he thought that the novel on the screen was better than his original work.

“Double indemnity” won seven Oscar nominations in one fell swoop. That year, Wilder’s competitor was selznik’s “farewell to you” (now it seems that the two films are not at the same level). The latter advertised in the newspaper that “in Hollywood, farewell to you is the most important four words after gone with the wind”, Billy Wilder, who has always been good at funny, responded in the newspaper: “double compensation is the most important word in Hollywood since the withered flower.” Selznick was so angry that he vowed to teach Wilder a lesson. At this time, Hitchcock came out to speak. He also published an advertisement in the newspaper, which said: “after double compensation, the most important word in Hollywood is Billy Wilder.”

Obviously, for Billy Wilder, who just picked up the camera, the recognition of the master is far more important than trying to please the judges and change a few Oscar winners.

44 years after the completion of double compensation, Spanish director Pedro amordova went to Los Angeles to promote his woman on the verge of mental breakdown. He specially visited Billy Wilder, a black film master who has galloped through Hollywood all his life. The only advice to amordova is “never be tempted by Hollywood”.

Billy Wilder and Raymond Chandler, who have had a hard time in life, work together again after jointly making the greatest black film in Hollywood. This time, they betrayed Hollywood together.

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