“Dear Keyes, I suppose you’ll call this a confession when you hear it… Well, I don’t like the word confession, I just want to set you right about something you couldn’t see because it was smack up against your nose.”
Released in 1944 and directed by Billy Wilder, “Double Indemnity” contemplates the idea of the perfect crime. It is certainly a topic that has intrigued me, ever since I read Crime and Punishment by Fyodor Dostoevsky. The notion of a ‘perfect crime’ contemplates whether one can get away with something and whether justice occurs in this life or the next.
Will it be one’s conscience that tears one apart from the inside out or will it be an error in committing the crime that hunts one? After all, to err is human, so is there such a thing as a perfect crime? These are all themes that are portrayed in this film.
Furthermore, what brings one to do such a heinous act? In this film, it is love -or obsession- that brings Walter Neff, played by Fred MacMurray, to behave in such an immoral way. Phyllis Dietrichson, played by Barbara Stanwyck, is a married woman who begs Walter to help her escape her marriage. Escape by murdering her husband, collecting the insurance money, and going away together.
This film has several phenomenal plot twists, and thus, I cannot say much more for fear of hindering your ability to have the best possible experience. All I can say is that if you enjoy Dostoyevski or have an interest in psychological and crime noir film, this is certainly the movie for you. Additionally, I must say, there is no horror or great violence in this film (aside from 2 gunshots), so if you had any hesitation surrounding that, put it aside and enjoy the film. I highly recommend it.
Check Out The Spotify Playlist for Double Indemnity and Crime Noir Aesthetic!

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