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Double Indemnity by James M. Cain and Devil in a Blue Dress by Walter Mosley

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James M

Cain, virtuoso of the roman noir, gives us a tautly narrated and excruciatingly suspenseful story in Double Indemnity, an X-ray view of guilt, of duplicity, and of the kind of obsessive, loveless love that devastates everything it touches. Walter Huff was an insurance salesman with an unfailing instinct for clients who might be in trouble, and his instinct led him to Phyllis Nirdlinger. Phyllis wanted to buy an accident policy on her husband. Then she wanted her husband to have an accident. Walter wanted Phyllis. To get her, he would arrange the perfect murder and betray everything he had ever lived for.

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The film was adapted by director Billy Wilder and writer Raymond Chandler from the 1935 novella by James M. Cain. Walter Neff (Fred MacMurray) is an insurance representative whose obsession with bombshell Phyllis Dietrichson (Barbara Stanwyck) allows her to manipulate him into helping murder her husband so she can collect on his lucrative insurance policy. (“Double indemnity” refers to the insurance policy clause that calls for the beneficiary to be paid twice the face value of the policy in case of the policyholder’s accidental death.) The scheme seems to be going perfectly until Neff’s boss, insurance investigator Barton Keyes (Edward G. Robinson), suspects foul play and launches an investigation into the case. Though this classic suspense drama weaves elements of lust, murder, and intrigue, it is not a “whodunit”—the viewer knows precisely who committed the crime and why. In the role of the unscrupulous insurance agent, leading man MacMurray played against type for the first time in his career, and film scholars cite the chemistry between him and the other leads as the central reason for Double Indemnity’s popularity and acclaim. Along with The Postman Always Rings Twice, this film pushed censorship rules in the area of sex. Both movies have obvious similarities: namely, self-centred women with torrid sex drives lure impressionable men into committing murder on their behalf. In both cases there is the inevitable “crime doesn’t pay” finale that was a necessary element of any film in this genre.

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By and large, in the end, Mosley’s hard-boiled detective story has developed in to more pragmatic genre that talks about the concerns related to everyday lives. Mosley was a big contributor to this movement. The novel emphasized race conflict and how they impact people’s behaviors in a negative way. It showed that problems like this leads to more discrimination, which amplifies criminal misdemeanors, ergo, Mosley’s novel represents criminal misdemeanors as an outcome of social issues.

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