Directed by Billy Wilder 1944
Opening shot man on crutches silhouetted making way slowly towards camera
Cut to car screeching thorough red light.
Man gets out of car goes into building; it is night and an office is being cleaned.
Face when seen sweaty; him using only right arm.
Long shot in close up of protagonist telling story into a microphone .
Dissolve to scene in the past.
Protagonist dressed in suit, tie, hat.
Low angle long shot to woman at top of stairs. Blonde and dressed in white. Chunky bracelet and large chunky ring.
Living room blinds and light coming through them.
Panning tracking shot of woman’s legs and travels up her body as she descends doing up her dress as she comes.
He sits on the arm of a sofa looking down at her in an armchair.
Pointed reference to her anklet.
Sexual banter ‘while you’re not fully covered;’ ‘look here there’s a speed limit in this state…’ followed by a number of scenarios starting with ‘s’pose’ to state their mutual attraction and assess the bounds of a potential relationship.
‘How could I have known…’
Walter Neff? is set up as a decent guy with his discussion with his boss Barton Keyes.
Same shot of her descending the stairs again.
She sets herself up as a decent wife whose husband ignores her.
She sets out a scheme, he rejects the implications and leaves.
When she visits his apartment she gazes up at him, wide eyes.
Hair immaculately curled, glossy.
High necked long sleeved white top, black trousers. Large chunky bracelet and rings; anklet becomes an obsession with Walter. Feet curled up under her on the sofa.
Dissolve out slow zoom in from long shot of him in the present again to mid shot.
Back to the past, him on settee she sits down next to him; as he tells her he’s going to ‘do it’ she kisses him but now she is fore-grounded and slightly higher than him to show her superiority.
In the scene where they get the husband to sign she is wearing a black dress.
(Double Indemnity is a clause in which the insurance company actually pays out double for very rare accidents.)
‘Guess I was wrong you’re not smarter just a little taller.’
As the deed is done the camera stays focused on her face; first she shows tension then relief.
Lighting as she kisses him in the car after dropping him off after the deed was done there is a diagonal line of shadow across their faces.
In the investigator’s office Neff leans on the mantelpiece striped shadows from the blinds across him.
As the tension begins to get to him he smokes, drinks.
Contrast made between the daughter Lola and step-mother. Daughter (in Neff’s office when she comes to tell him her suspicions) seen in high-angle close-up looking vulnerable and wet eyed, close to tears. She is darker haired, younger of course! And more natural looking.
In the supermarket where they meet when he tells her they are not going to go through with it she holds on to his arm, looks up into his eyes beseechingly, begs him not to give up. After an interruption she faces him across an aisle of sale items and taking her sunglasses off threatens him that this is a trolley ride he’s not going to get off until it’s all over.
Contrasts between Detour and Double Indemnity.