banda sonora - inglês
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Enviado por MrElephantMemory em 06/08/2011
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.
Double Indemnity (br: Pacto de Sangue; pt: Pagos a Dobrar) é um filme estadunidense de 1944, do gênero suspense, dirigido por Billy Wilder, baseado no livro de James M. Cain. É considerado um dos primeiros e mais bem-sucedidos film noir.
A história se baseou num crime real de 1927, em que Ruth (Brown) Snyder, uma mulher casada do Queens convence seu amante Judd Gray a matar o marido Albert, após ter comprado uma apólice de seguro com cláusula de indenização dobrada (double-indemnity clause). Os assassinos foram presos. Outros filmes inspirados no mesmo crime foram The Postman Always Rings Twice e Body Heat. Double Indemnity foi refilmado para a televisão em 1973, com Richard Crenna, Lee J. Cobb e Samantha Eggar.
Double Indemnity is a 1944 American film noir, directed by Billy Wilder, co-written by Wilder and Raymond Chandler, and produced by Buddy DeSylva and Joseph Sistrom. The script was based on James M. Cain's 1935 novella of the same title which originally appeared as an eight-part serial in Libertymagazine.
The film stars Fred MacMurray as an insurance salesman, Barbara Stanwyck as a provocative housewife who wishes her husband were dead, and Edward G. Robinson as a claims adjuster whose job is to find phony claims. The term double indemnity refers to a clause in certain life insurance policies that doubles the payout in cases when death is caused by accidental means.
Praised by many critics when first released, Double Indemnity was nominated for seven Academy Awardsbut did not win any. Widely regarded as a classic, it is often cited as a paradigmatic film noir and as having set the standard for the films that followed in that genre.
Deemed "culturally, historically, or aesthetically significant" by the U.S. Library of Congress in 1992, Double Indemnity was selected for preservation in the National Film Registry. In 1998, it was ranked #38 on theAmerican Film Institute's list of the 100 best American films of the 20th century, and in 2007 it was 29th on their 10th Anniversary list.
James M. Cain based his novella on a 1927 murder perpetrated by a married Queens, New York woman and her lover whose trial he attended while working as a journalist in New York In that crime, Ruth Snyder persuaded her boyfriend, Judd Gray, to kill her husband Albert after having him take out a big insurance policy — with a double-indemnity clause. The murderers were quickly identified, arrested and convicted. The front page photo of Snyder's execution in the electric chair at Sing Sing has been called the most famous newsphoto of the 1920s.
Double Indemnity began making the rounds in Hollywood shortly after it was published in Liberty magazine in 1935. Cain had already made a name for himself the year before with The Postman Always Rings Twice, a story of murder and passion between a migrant worker and the unhappy wife of a café owner. Cain's agent sent copies of the novella to all the major studios and within days, MGM, Warner Bros., Paramount, 20th Century-Fox, and Columbiawere all competing to buy the rights for $25,000. Then a letter went out from Joseph Breen at the Hays Office, and the studios withdrew their bids as one. In it Breen warned:
The general low tone and sordid flavor of this story makes it, in our judgment, thoroughly unacceptable for screen presentation before mixed audiences in the theater. I am sure you will agree that it is most important…to avoid what the code calls "the hardening of audiences," especially those who are young and impressionable, to the thought and fact of crime.
Eight years later Double Indemnity was included in a collection of Cain's works entitled Three of a Kind. Paramount executive Joseph Sistrom thought the material would be perfect for Wilder and they bought the rights for $15,000.Paramount resubmitted the script to the Hays Office, but the response was nearly identical to the one eight years earlier. Wilder, Paramount executive William Dozier, and Sistrom decided to move forward anyway. They submitted afilm treatment crafted by Wilder and his writing partner Charles Brackett, and this time the Hays Office approved the project with only a few objections: the portrayal of the disposal of the body, a proposed gas-chamber execution scene, and the skimpiness of the towel worn by the female lead in her first scene.
Cain forever after maintained that Joseph Breen owed him $10,000 for vetoing the property back in 1935 when he would have received $25,000.
After Paramount purchased the rights to the novella for Wilder, the next step was a screenplay. The material was widely regarded around Hollywood as unfilmable due its iniquitous characters and the restrictions imposed by the Code. Although he had worked on the treatment, tweedy Charles Brackett decided it was too sordid for his uppercrust sensibilities and bowed out of the project, leaving Wilder to find another collaborator. His first choice, James M. Cain himself, was already working for another studio and unavailable (although Cain claimed he was never asked).Producer Joseph Sistrom, an avid reader and an admirer of The Big Sleep, then suggested Raymond Chandler.
Wilder would later recall with disappointment his first meeting with Chandler. Envisioning a former private detective who had worked his own experiences into gritty prose, he instead met a man he would later describe as looking like an accountant. Chandler was new to Hollywood, but saw it as a golden opportunity. Not realizing that he would be collaborating with Wilder, he demanded $1000 and said he would need at least a week to complete the screenplay, to which Wilder and Sistrom simply looked at one another in amazement. After the first weekend, Chandler presented eighty pages that Wilder characterized as "useless camera instruction"; Wilder quickly put it aside and informed Chandler that they would be working together, slowly and meticulously. By all accounts, the pair did not get along during their four months together. At one point Chandler even quit, submitting a long list of grievances to Paramount as to why he could no longer work with Wilder. Wilder, however, stuck it out, admiring Chandler's gift with words and knowing that his dialogue would translate very well to the screen.
Initially, Wilder and Chandler had intended to retain as much of Cain’s original dialogue as possible. It was Chandler, ironically, who first realized that the dialogue from the novella would not translate well to the screen. Wilder disagreed and was annoyed that Chandler was not putting more of it into the script. To settle it, Wilder hired a couple of contract players from the studio to read passages of Cain’s original dialogue aloud. To his astonishment, Chandler was right and, in the end, the movie’s cynical and provocative dialogue was more Chandler and Wilder than it was Cain. Chandler also did a lot of fieldwork while working on the script and took large volumes of notes. By visiting various locations that figured into the film, he was able to bring a sense of realism about Los Angeles that seeped into the script. For example, he hung around Jerry's Market on Melrose Avenue in preparation for the scene where Phyllis and Walter would disceetly meet to plan the murder.
The tumultuous relationship between Wilder and Chandler only enhanced the product of their collaboration. Wilder, in fact, believed that discord, a tug-of-war, was a vital ingredient necessary for a fruitful collaboration: "If two people think alike," he once said, "it's like two men pulling at one end of a rope. If you are going to collaborate, you need an opponent to bounce things off of." His tugging with Chandler did have a softer side, it seems: over 60 years after the film's initial release, it was discovered that Chandler had agreed to appear in a fleeting cameo at 16:12 into the film, glancing up from a book as Neff walks past in the hallway. This is notable because, other than a snippet from a home movie, there is no other footage of Chandler known anywhere.
When Chandler came to work with Wilder he was already a recovering alcoholic. As Wilder noted, "He was in Alcoholics Anonymous, and I think he had a tough time with me — I drove him back into drinking...". By the time the picture was released, Chandler was thoroughly disillusioned with the writers' lot in Hollywood; he published an angry piece titled "Writers in Hollywood" for The Atlantic Monthly in November 1945 in which he complained, "The first picture I worked on was nominated for an Academy Award (if that means anything), but I was not even invited to the press review held right in the studio." He neglected, however, to mention that the studio had kept him on salary during the eight-week shooting schedule and that no changes to the script were allowed without his approval — a very rare accommodation for screenwriters, particularly newcomers, in those days. Offended, Wilder responded by saying, "We didn't invite him? How could we? He was under the table drunk at Lucy's," a nearby watering hole for Paramount employees. This relationship with Chandler is what drew Wilder to his next project, the Best Picture-winning The Lost Weekend, about an alcoholic writer. Wilder made the film, in part, "to explain Chandler to himself."
Cain himself was very pleased with the way his book turned out on the screen. After seeing the picture half a dozen times he was quoted as saying, " ... It's the only picture I ever saw made from my books that had things in it I wish I had thought of. Wilder's ending was much better than my ending, and his device for letting the guy tell the story by taking out the office dictating machine — I would have done it if I had thought of it."
Wilder's and Brackett's estrangement during Double Indemnity was not a permanent one. Years later Wilder would characterize their time apart as just another kind of adultery: "1944 was 'The Year of Infidelities,'" he said. "Charlie produced The Uninvited...I wrote Double Indemnity with Raymond Chandler... I don't think he ever forgave me. He always thought I cheated on him with Raymond Chandler." Brackett spun the breakup in a decidedly different light, saying, "Billy got so despondent at being without me that we did The Lost Weekend, a depressing film about a writer who has trouble writing." Lost Weekend was a distinguished offspring for the reconciled couple — they left Oscar night with three Awards: Best Picture for producer Brackett, Best Director for Wilder, and a shared pair of statuettes for both for Best Screenplay. They worked together through Sunset Boulevard in 1950, then split for good.
Having the two protagonists mortally wound each other was one of the key factors in gaining Hays Office approval for the script: the Production Code demanded that criminals pay, on screen, for their transgressions. In addition, Double Indemnity broke new cinematic ground on several fronts, one of those being the first time a Hollywood film explicitly explored the means, motives, and opportunity of committing a murder. It would take skillful performers to bring nuance to these treacherous characters, and casting the roles of Walter Neff and Phyllis Dietrichson would be a challenge for Wilder.
Sistrom and Wilder's first choice for the role of Phyllis Dietrichson was Barbara Stanwyck. At the time, Stanwyck was not only the highest paid actress in Hollywood, but the highest paid woman in America. (Her eventual co-star MacMurray matched Stanwyck's prominence at the pay window: in 1943, he was the highest paid actor in Hollywood, and the fourth highest-paid American.) Given the nature of the role, Stanwyck was reluctant to take the part, fearing it would have an adverse effect on her career. According to Stanwyck,
I said, "I love the script and I love you, but I am a little afraid after all these years of playing heroines to go into an out-and-out killer." And Mr. Wilder – and rightly so – looked at me and he said, "Well, are you a mouse or an actress?" And I said, "Well, I hope I'm an actress." He said, "Then do the part". And I did and I'm very grateful to him.
The character of Walter Neff was not only a heel, he was a weak and malleable heel — many Hollywood actors including Alan Ladd, James Cagney,Spencer Tracy, Gregory Peck, and Frederic March passed on it.Wilder even recalls "scraping the bottom of the barrel" and approaching George Raft. Raft was illiterate, so Wilder had to tell him the plot. About halfway through, Raft interrupted him with, "Let's get to the lapel bit." "What lapel bit?" a bewildered Wilder replied. "The lapel," the actor said, annoyed by such stupidity. "You know, when the guy flashes his lapel, you see his badge, you know he's a detective." This was his vision of the film, and since it wasn't part of the story, Raft turned the part down. Wilder finally realized that the part should be played by someone who could not only be a cynic, but a nice guy as well.
Fred MacMurray was accustomed to playing "happy-go-lucky good guys" in light comedies, and when Wilder first approached him about the Neff role, MacMurray said, "You're making the mistake of your life!" Playing a serious role required acting, he said, "and I can't do it." But Wilder pestered him about it every single day — at home, in the studio commissary, in his dressing room, on the sidewalk — until he simply wore the actor down. MacMurray felt safe about his acquiescence since Paramount, who had him under contract and had carefully crafted his good guy image, would never let him play a "wrong" role. His trust, however, was misplaced: his contract was up for renewal at the time, and ever since his friend and co-star, Carole Lombard, had shrewdly and successfully taught him how to play hardball with the studio bosses, he wasn't the pliable pushover of old. Paramount executives decided to let him play the unsavory role to teach him a lesson. A lesson was indeed taught, but not the one Paramount had in mind. MacMurray made a great heel and his performance demonstrated new breadths of his acting talent. "I never dreamed it would be the best picture I ever made," he said.
Edward G. Robinson was also reluctant to sign on for the role of Barton Keyes, but not for the same reasons as MacMurray and Stanwyck. Having been a star since Little Caesar in 1930, this role represented a step downward to the third lead. Robinson would later admit, "At my age, it was time to begin thinking of character roles, to slide into middle and old age with the same grace as that marvelous actor Lewis Stone". It also helped, as he freely admitted, that he would draw the same salary as the two leads, for fewer shooting days (Wikipedia)
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