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Purchase Double Indemnity (1944) Movie Online and Download - Billy Wilder 🎥
Crime, Drama, Thriller, Film-Noir
IMDB rating:
Billy Wilder
Fred MacMurray as Walter Neff
Barbara Stanwyck as Phyllis Dietrichson
Edward G. Robinson as Barton Keyes
Porter Hall as Mr. Jackson
Jean Heather as Lola Dietrichson
Tom Powers as Mr. Dietrichson
Byron Barr as Nino Zachetti
Richard Gaines as Edward S. Norton, Jr.
Fortunio Bonanova as Sam Garlopis
John Philliber as Joe Peters
George Anderson as Warden at Execution (scenes deleted)
Al Bridge as Execution Chamber Guard (scenes deleted)
Edward Hearn as Warden's Secretary (scenes deleted)
Boyd Irwin as First Doctor at Execution (scenes deleted)
George Melford as Second Doctor at Execution (scenes deleted)
William O'Leary as Chaplain at Execution (scenes deleted)
Storyline: In 1938, Walter Neff, an experienced salesman of the Pacific All Risk Insurance Co., meets the seductive wife of one of his clients, Phyllis Dietrichson, and they have an affair. Phyllis proposes to kill her husband to receive the proceeds of an accident insurance policy and Walter devises a scheme to receive twice the amount based on a double indemnity clause. When Mr. Dietrichson is found dead on a train-track, the police accept the determination of accidental death. However, the insurance analyst and Walter's best friend Barton Keyes does not buy the story and suspects that Phyllis has murdered her husband with the help of another man.
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Great Classic
If you are a fan of the classics, and have not seen this movie, WHY NOT? This truly is one of the great ones. I enjoyed the "old school" language in the movie. I think one of my biggest enjoyments was seeing Fred MacMurray as a bad guy. I have seen this guy in many shows and movies as the good guy for many years. The best one in the flick (in my opinion) has got to be Edward G. Robinson, classic, classic indeed.
Classic Film Noir
As this classic film noir begins protagonist Walter Neff returns to the insurance office he works at; it is late at night and he is clearly injured. He sits down and starts to record a confession; he starts by saying that he had helped a woman kill her husband for the insurance money. The action then flashes back and we see the events from the moment of his first meeting with femme fatale Phyllis Dietrichson when he flirts with her while visiting to remind her that her husband's car insurance needs renewing. On their second meeting she brings up the idea of taking out accident insurance without her husband knowing… he knows she is talking about murder and walks out but inevitably they meet again and start to plan how they could do it. Walter decides it must be done on a train as a clause in the policy doubles the payout… of course with that sort of payout the company will investigate very closely and Walter's friend Barton Keyes always figures out what happened.

This year may mark the seventieth anniversary of Double Indemnity's release but it does not feel dated. The opening scene lays out what is going to happen but even though we know Mr Dietrichson will be killed and that Keyes will suspect the wrong man it is still tense from start to finish. Fred MacMurray put in a nicely understated performance as Neff; a surprisingly likable character given that we know what he is going to do. Barbara Stanwyck was great as Mrs Dietrichson; a less pleasant character but even she is initially sympathetic initially. The third of the main cast Edward G. Robinson is a lot of fun at Barton Keyes; possibly the only good main character. Director Billy Wilder does a great job bringing the story to the screen; the atmosphere is great. Overall I thought this was a great film; any fan of classic cinema is sure to love it.
Ture Noir Film
Paramount Studio's 1944 release Double Indemnity is one of the best examples of true-to-form film noir. The plot of the film is straightforward. Fueled by greed, a wife decides to take out an insurance policy on her unsuspecting husband, with plans of murdering him for the proceeds. The policy contains a double indemnity clause, which will pay twice the policy amount in the event of death by accident. To make her plan succeed, she enlists the help of an accomplice to help murder her spouse and make it seem accidental.

Adapted from a novel by James M. Cain, Double Indemnity is loosely based on the real-life Snyder-Gray murder case of 1927, in which a New York housewife persuaded her young lover to commit murder. The woman had taken out a double indemnity life insurance policy on her husband without his knowledge. The murder succeeded but the killers were caught and executed the following year. Just as actual events influenced the making of this film, Double Indemnity has influenced numerous movies based on the same premise, the most notable of which are 1946's The Postman Always Rings Twice and 1981's Body Heat.

The film stars Fred MacMurray as Walter Neff, a fast-talking insurance salesman, attempting to pull the perfect fraud job. It is Fred MacMurray who is narratting the film. Of course he didn't start out with that idea - it all stated when he met, and immediately fell for, Phyllis Dietrichson (Barbara Stanwyck). From there the tale she spins of her unhappy marriage, complicated by a tempestuous relationship with stepdaughter Lola, takes him on the slippery slope to crime. With his extensive knowledge of the insurance business, nothing can stop Walter from covering his tracks ingeniously… except the analytical skills of his friend, the fraud investigator Barton Keyes.

Frequently told in flashbacks, this movie is utterly compelling from the word go. It's interesting to ponder whether this film could have had the same impact if it had been shot in colour - but I don't think so. The filming is spot on, the camera angles, use of shadow and perspectives on the actors all add to the tension of the film. The screen does sometimes get so dark as to be impossible to tell what's going on in a couple of scenes, but this is done deliberately so as to add to the suspense.

The film is very wordy, as so many films of the era were and the dialogue is often brilliant. Billy Wilder's direction is another part of the key to this film's being in the IMDb Top 250 Movies of All Time list and also features in the Top 50 among the IMDb Film Noir list in fact at # 3 when I last saw it. There are moments of humour to lighten the mood and scenes of compelling drama / intrigue / emotion. With the excellent acting, awesome script and breathtaking art direction / cinematography it makes one of the best films of all time in a lot of peoples' list - including mine.

In case you didn't know (I didn't), the term "Double Indemnity" refers to an insurance clause where a double payment is handed out if someone whose life is insured dies in an unusual manner. Theoretically of course the chances of this happening are remote, meaning little danger of them ever having to pay it out… and cases when someone has died in this manner shortly after taking out a life insurance policy would automatically be viewed as suspicious. The way Walter covers his tracks, and the way Barton uncovers them, are quite brilliant and show (to a layman at least) a deep knowledge of the insurance business.

Double Indemnity was nominated for no less that seven Oscars; sadly it didn't win a single one. But from 1944, it's popularity has increased year after year and when you talk of noir movies DOuble Indemnity instantly come to ones mind.
Ten times twice as dangerous…Double Indemnity
What many call the ultimate film noir, the murder mystery that is spoiled at the start, setting the stage for a retelling by our protagonist of the perfect crime, is unraveled before our eyes. Billy Wilder's Double Indemnity revolves around an insurance fraud murder that appears foolproof until the seams start to tear. Walter Neff, the top salesman two months in a row, falls in love with the young wife of an oilman, a woman looking for a way to leave her troubled marriage. Who better to get away with the perfect crime then a man that sees false claims avenged everyday? Their tracks must be covered and their guilt assuaged. However, being as our first scene shows Walter confessing to everything, we know the well-laid plans were unsuccessful. The trick to the film becomes how it all went down, how the puzzle pieces fell into place, and the power of a conscience, eating away at you until you can't stand the pressure any longer.

It is not giving away anything to say that the two complete the task of killing Mr. Dietrichson, a businessman with a temper. The deed is orchestrated to look like he fell off a train, a venue for accidental death that comes with a special double indemnity clause, one that pays twice the cost of his recently purchased insurance of $50,000. That money is the impetus that pushes Neff over the top to help his new mistress. Phyllis Dietrichson is the damsel in distress, the nurse of her husband's first wife that was naïve and heartbroken for her boss after his loss. She says it compelled her to stay with him in a union that never held any love. The chance arrival of Neff not only opens her eyes to the possibility of a clean break without any strings and actually some cash to boot, but also to a man she can spend time and possibly settle down with. It is a strange coincidence that the Dietrichson's auto insurance was allowed to lapse, creating a house call, and a happy accident that the man called to visit was one as immoral as Walter. Right from the start he flirts and makes advances towards the woman he knows is married to his client. It's not until the end that you start to consider whether none of it was by chance at all, but instead carefully planned out and manipulated from the first second.

Neff is played by Fred MacMurray—a perfect fit for the role of a shady salesman, unafraid to get his hands dirty. The confidence and swagger allow us to believe he can win over the girl as easily as he does. He is the kind of guy that can fool the world into thinking he is on the level, a man of intelligence and pride. His boss, Barton Keyes and he have a very close relationship, one based on mutual respect and admiration. Neff has them all fooled into believing he is a man of character, one Keyes would personally vouch for, and his initial balk at the offer to help kill Dietrichson shows that maybe he is. Maybe there is some semblance of humanity behind the quick-witted banter and devious smile, a moral compass that won't allow him to cross the line. But greed and lust can tempt even a saint, let alone a guy like Neff, and it doesn't take long for him to begin the blueprints for what will be the perfect crime; one that not even Keyes and his keen lie detector can spot. It is that question of virtue that will ultimately undo him, though, as the strong stomach he thought he had might not be indestructible.

The story revolves around MacMurray and as a result he is on screen almost the entire time. He is our narrator and our entrance point into the proceedings. However, it is not a role that we necessarily relate to, nor even begin to feel sorry for to hope he gets away with the crime. Instead, knowing about his confession from the beginning, we sit down to watch his hubris shred his world to pieces. Each person is a cog to the tale at hand; it is the plotting of the film that takes center stage and top billing. The pieces are moved and we follow them through the twists and turns and revelations that change our preconceptions of each. No one is truly as they seem and they all have an ulterior motive just below the surface, propelling their actions and attempts for survival whether the other does or not. Our two criminals are selfish at heart, but until you watch the entire journey, you won't know just how much.

While the acting is definitely dated and a product of its time, it doesn't mean that it's not good. Barbara Stanwyck plays MacMurray's partner-in-crime Phyllis with equal panache. She holds her own in every situation, whether with her sharp tongue in some very funny back and forths or in her steely disposition when things get rough, it's a part that needs to be strong and is. Barton Keyes is the role that sticks with you, though. Edward G. Robinson is fantastic as the cocky claims agent, self-proclaimed as never being wrong when his gut says something isn't right. He delivers some of the best lines with such deadpan seriousness that you laugh even harder. The ego, cynicism, and attitude all add up to a man you have to respect, because under the tough exterior lies a man with heart. His dynamic with MacMurray is an interesting one, especially when seen through to the end. While they aren't completely fleshed out, each character is a detailed piece to the intricate web of deceit on display. Surrogates for the story to be shown to the audience, we watch them not for who they are, but for what they will do.
I Wonder if you Wonder
Greetings again from the darkness. "I wonder if you wonder." Every time I hear Walter Neff say those words to Phyllis Dietrichson as their initial encounter concludes, I smile and settle in for another round of Double Indemnity (1944) ... one of my all-time favorites. Though I have seen it many times over the years, I recently saw it for the first time on the big screen ... and from a 35mm print! So much of the subtle filmmaking becomes apparent - the variance of lighting, the intensity of shadows, and the vividness of close-ups. This reinforces my belief that we should never miss an opportunity to view good films in a theatre setting ... just as the director intended.

Since this film was released 67 years ago, it's difficult to discuss without noting a key plot point or character reaction. If you haven't seen it and plan to, you might stop reading here. If you would like a little insight, then let's keep going. Billy Wilder (left) directed the film and his place as a Hollywood legend is quite secure. He was nominated for 21 Oscars (Director, Writer, Producer) and had 3 wins. Some of his classics are: The Lost Weekend, Sunset Blvd, Witness for the Prosecution, Some Like it Hot, The Apartment, The Front Page. Many think of Wilder as a comedic filmmaker and he certainly had success in that genre, but if you watch closely, even his comedies have a dark element to them.

Double Indemnity is based on the novella by James M Cain, who also wrote Mildred Pierce and The Postman Always Rings Twice. Wilder was a fan of Cain's book, but knew the dialogue wouldn't work well on screen. So together with Raymond Chandler they wrote a screenplay filled with crackling lines and a constant feeling of dread and pending doom. As great as the script is, it is heightened by a wonderful cast that includes Fred MacMurray, Barbara Stanwyck, Edward G Robinson, Porter Hall, Jean Heather, Tom Powers, Richard Gaines and Byron Barr.

For me, MacMurray's performance is what brings the words to life and jumps the film to the "must see" category. He is playing against two Hollywood heavyweights in Stanwyck and Robinson, but we are somehow sympathetic to this not-so-bright guy who gets played like a fiddle by the villainous, wily woman he lusts after. Even as he is recording his confession, a part of us understands how he got drawn into MURDER! Not just any murder, but one for money and love ... only there is no money, and there is no love.

Ms. Stanwyck is perfectly cast as the femme fatale who weaves her web of deceit and destruction. She quickly spots the vulnerability of MacMurray's character and uses her assets just enough to hold the leash tight. It is a testament to her screen presence that she can pull off the sultry siren while sporting a less-than-desirable blonde wig. At the time, the wig was so controversial that the producers compared it to George Washington and wanted it trashed. However, filming was too far along and now it's impossible to imagine her looking any other way. Besides, MacMurray only seems to notice her anklet!

Edward G Robinson made a name for himself as a tough-guy actor ... cop and mobster all rolled into one. Here he plays the insurance investigator with a sixth-sense for fraudulent claims. He is a hard-nosed, dedicated employee who takes his responsibility very seriously and has no sympathy for those who cheat his cherished system. He has a soft spot for co-worker MacMurray, even though he is one of the back-slapping salesmen he so loathes. Their relationship in the film is one of respect and about as close as two professional men could be, given the era. When Robinson goes off on his rant about suicide research, he is a joy to behold. This guy could flat chew scenery.

In addition to the infamous wig, you might also notice that MacMurray is wearing a wedding band throughout the film, even though his character is clearly a single man. Wilder and MacMurray stated many times over the years that was simply a mistake and not "caught" until post-production. Expect a chuckle when MacMurray, as the narrator, enviously describes a Spanish style Los Angeles home as costing $30,000 ... probably less than the property taxes would be on that house today. The film originally was to end with MacMurray in the Gas Chamber and Robinson looking on (inset), but this was deemed inappropriate. One last little nugget: early in the film, MacMurray walks out of Robinson's office and past a man sitting on a hallway chair reading a paperback book. That man? Raymond Chandler, in his only on screen appearance.

The film is often described as quintessential Film Noir. Another prime example of Film Noir would be The Big Sleep (1946), based on a Raymond Chandler novel, directed by Howard Hawks, and starring Humphrey Bogart and Lauren Bacall. While Film Noir might not be an easily definable term, there are certain elements that must be present. Lighting is key. Shadows must be prevalent. Some type of detective story is usually at the center, and we typically get some poor schlub of a guy being yanked around by the femme fatale. The right "mood" is essential ... as a viewer we know things are headed down the wrong path, but we just can't save the characters from their own poor choices. But neither can we look away. That helpless feeling is a strong indicator that you just watched a terrific Film Noir.
Try to forget all the film-noir parodies you've seen--this is the real thing
For years, I was entertained by film-noir homages/parodies like Garrison Keillor's "Guy Noir, Private Eye" and the Coens' "The Man Who Wasn't There," but I'd never seen an authentic noir. I finally got my chance with "Double Indemnity," which helped establish the genre as we know it. The expected elements are all here: Shadow-filled black-and-white cinematography. An ordinary man (Walter Neff, played by Fred MacMurray) who becomes an amoral criminal under the influence of a femme fatale (Phyllis Dietrichson, played by Barbara Stanwyck). Abundant cynicism, pessimism, and fatalism. Tough, stylized dialogue, including voice-over narration with a kind of hard-edged poetry to it.

However, because in the 21st century we see film noir parodies more frequently than the real thing, we've been conditioned to laugh at some of the excesses of the genre--especially this sort of narration. Thus, lines like "How could I know that murder could sometimes smell like honeysuckle?" or "I got to thinking about what cemeteries are for--they're for putting dead people in!" strike us as much funnier than they were probably intended to be. Instead of helping create a dark, gritty atmosphere, they actually jolt us out of the movie by prompting our scoffing laughter.

In short, "Double Indemnity" does a great job of establishing the rules of the world in which the story takes place, but we now have trouble accepting that world on its own terms. And I do believe that this movie was intended to have some humor to it--but of the grimly ironic kind, not the "isn't this a little ridiculous?" humor we find in it today.

Still, there is much to admire about "Double Indemnity." It has a very strong plot--simply but elegantly constructed, and even though its general outlines get revealed within the first five minutes, the movie always remains interesting. The relationship between Walter and Phyllis is intriguingly ambiguous--it's not clear whether they are motivated by lust, greed, or something else entirely. (Roger Ebert's Great Movies essay has some noteworthy theories about this, and made me realize that this ambiguity is an asset, not a flaw.) Most impressive and unexpected is the character of insurance-claims investigator Barton Keyes (Edward G. Robinson). Though Keyes functions like a detective, his role doesn't indulge in any "film-noir detective" clichés. Instead, he's the most real-seeming person in the movie: rumpled, gruff, blustering, detail-obsessed, highly conscientious, and very funny. And gradually, the film reveals that the relationship between Walter and Keyes is even more complex and interesting than that between Walter and Phyllis.

"Double Indemnity" will always be watched because of its role in establishing the conventions of film noir, but more importantly, it's still an entertaining movie--even if, sixty years later, it's sometimes entertaining for reasons the filmmakers never intended.
A Brilliantly Written Classic
"Double Indemnity" is a great movie with many great attributes but foremost among these must be its scintillating screenplay which combines wit, intelligence, razor sharp remarks and double entendres in such an effective way that, as well as being immensely entertaining, it also contributes strongly to driving the pace of the story. The quick fire dialogue and superb repartee are so engaging that they command the attention of the audience right from the start and also provide added impetus to all the action that follows. Billy Wilder and Raymond Chandler collaborated in adapting James M Cain's story for the movie and the end result was nothing short of brilliant and was understandably nominated for the Academy Award for Best Writing, Screenplay in 1945.

The characters featured in this evil tale are very memorable and in the case of the two main protagonists are also very immoral. Walter Neff (Fred MacMurray) is a fast talking insurance salesman who goes to visit a client and in his absence meets his wife Phyllis Dietrichson (Barbara Stanwyck). Their first encounter during which Dietrichson appears dressed only in a bath towel, leads to some flirting and their relationship develops further when Dietrichson eventually convinces Neff to take part in a scheme to sell her husband an accident policy (unknown to Mr Dietrichson) and then to murder him so that the couple can collect the insurance money and enjoy a future together.

Neff advises that the policy will pay out double if the fatal accident occurs on a train and so, when Mr Dietrichson is due to go on a business trip, arrangements are made for him to travel by train. Neff carries out the murder and dressed like Mr Dietrichson (complete with crutches) takes his place on the train journey before the couple place the body on the tracks to give the impression that Mr Dietrichson died as the result of an accidental fall from the observation car of the train.

After having carried out their plan successfully, the events that follow conspire to introduce a series of complications which lead to the couple losing their trust in each other and also to the movie's dramatic conclusion.

Fred MacMurray is perfect in his role as the very self assured Neff who's corrupted by lust and a greed for wealth. His portrayal of someone who thinks he knows all the angles but whose confidence is gradually eroded as things start to go wrong is very convincing and Barbara Stanwyck is also excellent as the cold, manipulative seductress who is utterly ruthless and seemingly devoid of any human feelings. Edward G Robinson appears in the role of Barton Keyes, a claims investigator who works for the same firm as Neff. Barton is very experienced and incredibly good at his job and possesses a strong instinct which enables him to sense immediately if a claim is likely to be fraudulent. He and Neff enjoy a longstanding friendship which involves a good deal of warmth and mutual respect. Robinson's performance is outstanding as he delivers some super-fast speeches and conveys the nature of his character's idiosyncrasies with great panache.

In typical film noir style, the story is told in flashback with Neff's narration providing a particularly matter-of-fact account of what happened. When he says "I killed him for money and for a woman. I didn't get the money and I didn't get the woman", there's an inherent poignancy in his words but the delivery is completely lacking in any sentimentality or self pity. The same can be said for his remark that "we did it so that we could be together, but it's tearing us apart".

"Double Indemnity" is a dark thriller which became the prototype for many later movies which told similar stories but rarely with the same style and impact as the original. Billy Wilder's direction is superb and especially successful in contributing to the high levels of suspense that are generated at various junctures throughout the action. This is a film of rare quality and one that, because of its subject matter, will undoubtedly continue to be a source of great entertainment and fascination for movie lovers for many years to come.
enjoyed this dark Who-dunnit...
Barbara Stanwyck (multi bw movies "Lady Eve", many others) and Fred MacMurray (also many bw movies, then the dad on My Three Sons TV series) meet as an insurance salesman attempts to sell an insurance policy to a California housewife. They both play dark, sinister roles, unlike what they are both known for. I love the playful banter as they flirt and tease each other before things get more serious. Plot also has several clever twists, and the viewer squirms several times when the investigators almost catch people in compromising positions in a Hitchcock manner. Edward Robinson is MacMurray's boss helping to track down the clues. Billy Wilder directed. Movie was remade later in 1973 with richard crenna, but stick with the old b/w version.
Don't Drink The Lemonade: Run!
Spoilers Ahead:

This works so well that Kasdan copied so much of it. McMurray is out of his typical role as a jaded salesman looking to do more than sell insurance policies. The first feature that is great is that Phyllis is like an iceberg, what you see of her, just like Matty Walker in Body Heat, is very, very little. The first meeting is just two predators walking around each other sizing, no pun intended, each other up. Dressing to kill with perfume and bracelets, she is constantly looking for an existential vacuum cleaner to rid herself of an unwanted husband. What works well is we never know how much Keyes knows about what is going on. Wilder starts with Keyes tearing up a phony claimant right in front of Neff, this sets the stage for, upon first viewing, never knowing if Keyes is toying with them. The mark of a great Film Noir is inversion, like Out Of The Past. There, the woman we thought was the victim was the tarantula behind the scenes, the biggest villain of all. Here, as in Body Heat, Phyillis is the picture of the needy, helpless, unhappy woman, she plays Neff like a violin. Again, as in Body Heat, she lets him think the killing is his idea, not hers. The actual killing, while meticulously planned, had one big hole in it, a witness verifying Phyllis' husband on the back of the train before the 'accident.' This comes back to haunt both of them for they need to establish that he was there, before he, supposedly fell.

This bungle is what starts Keyes on their trail; Mr. Statistics breaks out the memorized table for accidents and convinces himself of the truth. This starts the unraveling of the never quite happy couple. Neff gets spooked and starts to panic, what is creepy, when you watch this over, is that Phyllis was already planning Neff's demise during this period. Stanwyk's performance is the star of the movie; multi-layered with deceit upon deceit. Neff underestimates her, and he pays with his life for it. The most disturbing part is where the step-daughter relays how Phyllis was a nurse and how she killed her mother. Like Body Heat, the male protagonist discovers that the poor victim is actually a malevolent predator. By the end, Neff is the helpless one, I love when he walks towards her thinking that she would never shoot him, wrong. This remains the classic for its writing above all; nothing is as it appears upon the surface. Wilder toys with us, we start looking over our shoulders for Keyes, just as Neff does.

Like all classic Noir, watch for the shadow filled first meeting between Neff and Phyillis, compare to the ending. Shadows in Noir are existential metaphors for Darkness inside of people. Even in the first meeting, the room is full of shadows, often behind Phyllis and on parts of her body. The husband is drawn unsympathetically to increase your surprise when you discover she has been planning this since she was a nurse who killed the first wife. This is why people compare Body Heat to this classic; the Femme Fatale is a sliver of her true self. As the male victim gets in over his head, both Kasdan and Wilder unveil the hidden monster. While I prefer Out Of The Past, for Douglas and Mitchum, this is a very close second. Don't let McMurray scare you away, Wilder has him under control here; honestly, it is not the rambling McMurray of The Caine Mutiny. Edward G. steals all of his scenes, the movie was attacked on the grounds of his role being more of a cameo than real support. Yes, he has just a few scenes, but he looms invisibly in the background worrying both Neff and the audience. The 40's movie code sanctioned infidelity quite severely, this movie is no exception. It attenuates Neff being as truly a victim as Mitchum's moral protagonist in Out Of The Past.

It is simply, one of the best written, acted and directed Film Noirs. When you watch it, study how the director uses shadows in the frame; they usually fall upon the people. Excellent Classic, Wilder's Best Movie By A Mile. Q.E.D.
From the moment it starts....
From the moment it starts, you know you're in for an incredible movie. At almost 70 years old, this movie still has one of the most incredible and memorable scripts. There are so many memorable lines. Those delivered by Fred MacMurray are the most believable. Less than two minutes in to my first viewing of this movie I knew I was in for something special. That was about 15 years ago and after dozens of viewings, I know I will never tire of it. A true American classic.

One of the first, and still best, films de noir. It doesn't get much better than this.

It's still a "honey of an anklet, Mrs. Dietrichson!"
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