Double Indemnity Film relationship to Film Noir

$24.00 $21.00

Essay topic
Analyse and interpret one film’s relationship to film noir as a critical category in relation to the
definition of film noir set out in one piece of reading.
To what extent does your chosen film illustrate the definition of noir set out in the reading? What
are the limitations of this perspective? (i.e. what else might one need to consider to get a fuller sense
of the film’s relationship to “noir”?)
FILM: Double Indemnity (Billy Wilder, 1944, USA, 107 mins) Can be watched online.
READING: Paul Schrader, “Notes on Film Noir,” in Film Noir Reader, eds. Alain Silver and James
Ursini (New York: Limelight Editions, 1998), 53-64.

Important notes:
“The notion of genre is a theoretical tool, not a ‘natural’ fact: to consider any group of works as a
genre is to choose some traits as pertinent, others as irrelevant” (Cozarinsky quoted by Michael
Walker in Introduction to
The Movie Book of Film Noir, 1992: 8).
Research: This essay is designed to encourage you to look closely at one film in relation to one
piece of reading
rather than bringing in a wide range of reading. It is therefore important that you
allow time to watch the film. The above said, where the question asks you to reflect on the
“limitations of the perspective” of the piece of reading you are focusing on, your response should be
informed by wider understandings of noir.

Film Noir

Film noir is fundamental to comprehending the interpretations of after-war American uniqueness and its connection to nationality, whereas the film Double Indemnity has all the features of the standard forties film. It is in black and white, it has fast banter, it’s precisely clever, a narrative from the model age. The characters include Barbara Stanwyck, Edward Robinson, and Fred MacMurray and the tough powerful speaker. It has radiantly written discourse and the impeccable score. In several ways, several people`s quotes incorporate all the chief elements that brand the Double Indemnity film of Billy Wilder a stroke of genius. Fixed on the film noir’s highest standards, its low-key illumination, domineering music, piercing discourses and magnificent performances succeed to brand this film an inevitable classic. This essay seeks to establish the relationship between the film noir and film Double Indemnity as a critical category in relation to the definition of film noir set out in one piece of reading. The essay also seeks to outline the limitations of the perspective, as the essay chooses some traits as pertinent while others as irrelevant (Schrader, Paul, 1986).

It is indispensable to comprehend the features of film noir’s artistic to raise the value of Double Indemnity‘s luxuriance. The word was first used in 1946 by criticizers in French to refer to the escalation of crime comedies in Hollywood that reconnoitered sexual incentives and rising skepticism. The film`s low-key plain style is considerably distinguishable, subjective by German genre as well as the criminal movies of the 1930s. In a decent film noir, it was expected to come across vehement desire and indiscretion, depicted by compassionate anti-heroes who linger outside the community, in a felonious of transgressions (Tangney, 2012).


There are no reviews yet.

Be the first to review “Double Indemnity Film relationship to Film Noir”

Your email address will not be published. Required fields are marked *

Scroll to Top