3ab08437   
   From: ggggg9271@gmail.com   
      
   On Sunday, November 20, 2011 at 8:17:25 AM UTC-10, wlah...@gmail.com wrote:   
   > Hey,    
   >    
   > One morning on the set of “Double Indemnity,” Billy Wilder announced,    
   > “Keep it quiet. After all, history is being made.”    
   >    
   > Whether Wilder was once again dipping into self-aggrandizement or    
   > whether he really understood that his film of James M Cain’s novel    
   > would forever alter the Hollywood crime film isn’t known. Either way,    
   > he was right.    
   >    
   > Based on a script that Wilder wrote with Raymond Chandler and starring    
   > Fred MacMurray, Barbara Stanwyck and Edward G Robinson, among others,    
   > “Double Indemnity” would have an impact few other films can claim. As    
   > “Jaws” and “Enter The Dragon” redefined and invigorated moribund    
   > genres, “Double Indemnity” irrevocably altered the Hollywood crime    
   > film.    
   >    
   > “Laura,” “The Stranger on the Third Floor,” and “The Maltese   
   Falcon”    
   > are whodunits whose time was just about over. What changed the postwar    
   > Hollywood crime film wasn’t an imagined postwar disillusionment in the    
   > US or trembling émigrés still stuck in German expressionism or    
   > bubbling moral ambiguities just beyond the shadows. With the exception    
   > of the appearance of US soldiers in the films – intended as a way to    
   > sell tickets – World War II had almost no effect on the Hollywood    
   > crime film.    
   >    
   > There is a September 7, 1944, New York Times movie review of “Double    
   > Indemnity” that contains an interesting observation. “For Billy    
   > Wilder,” wrote critic Bosley Crowther, “has filmed the Cain story of    
   > the brassy couple who attempt a ‘perfect crime,’ in order to collect    
   > some insurance, with a realism reminiscent of the bite of past French    
   > films.”    
   >    
   > That Cain was influenced by Émile Zola and Billy Wilder by Jean Renoir    
   > is obvious. Raymond Chandler once wrote of Dash Hammett that “Hammett    
   > took murder out of the Venetian vase and dropped it into the alley.”    
   > The French film noirs of the 1930s took it another step and dropped it    
   > into the hearts of common people. Murder – and other crimes – no    
   > longer belonged to the criminal underground.    
   >    
   > Years later when a second-rate French critic threw the term “film    
   > noir” into a review of several Hollywood films (including “Double    
   > Indemnity”), the die was loaded and the game was fixed. What followed    
   > is an incomprehensible theory that no one can agree on and has managed    
   > to throw more shadow than light on the films that the theory has been    
   > applied to.    
   >    
   > Billy Wilder had the sardonic humor to appreciate that.   
      
   "The One Thing Billy Wilder Regrets The Most About Double Indemnity":   
      
   https://www.slashfilm.com/799549/the-one-thing-billy-wilder-regr   
   ts-the-most-about-double-indemnity/   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)