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Pacto de sangre

Título original: Double Indemnity
  • 1944
  • B
  • 1h 47min
CALIFICACIÓN DE IMDb
8.3/10
176 k
TU CALIFICACIÓN
POPULARIDAD
2,666
67
Barbara Stanwyck and Fred MacMurray in Pacto de sangre (1944)
Trailer for Double Indemnity
Reproducir trailer2:16
2 videos
99+ fotos
Film NoirHard-boiled DetectiveCrimeDramaMysteryThriller

Un agente de seguros se deja convencer de un plan de asesinato y fraude, que despierta la sospecha de un investigador.Un agente de seguros se deja convencer de un plan de asesinato y fraude, que despierta la sospecha de un investigador.Un agente de seguros se deja convencer de un plan de asesinato y fraude, que despierta la sospecha de un investigador.

  • Dirección
    • Billy Wilder
  • Guionistas
    • Billy Wilder
    • Raymond Chandler
    • James M. Cain
  • Elenco
    • Fred MacMurray
    • Barbara Stanwyck
    • Edward G. Robinson
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    8.3/10
    176 k
    TU CALIFICACIÓN
    POPULARIDAD
    2,666
    67
    • Dirección
      • Billy Wilder
    • Guionistas
      • Billy Wilder
      • Raymond Chandler
      • James M. Cain
    • Elenco
      • Fred MacMurray
      • Barbara Stanwyck
      • Edward G. Robinson
    • 512Opiniones de los usuarios
    • 146Opiniones de los críticos
    • 95Metascore
  • Ver la información de producción en IMDbPro
  • Película con mejor calificación n.º 104
    • Nominado a 7 premios Óscar
      • 5 premios ganados y 9 nominaciones en total

    Videos2

    Double Indemnity
    Trailer 2:16
    Double Indemnity
    Double Indemnity
    Trailer 1:21
    Double Indemnity
    Double Indemnity
    Trailer 1:21
    Double Indemnity

    Fotos119

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    Elenco principal33

    Editar
    Fred MacMurray
    Fred MacMurray
    • Walter Neff
    Barbara Stanwyck
    Barbara Stanwyck
    • Phyllis Dietrichson
    Edward G. Robinson
    Edward G. Robinson
    • Barton Keyes
    Byron Barr
    Byron Barr
    • Nino Zachetti
    Porter Hall
    Porter Hall
    • Mr. Jackson
    Jean Heather
    Jean Heather
    • Lola Dietrichson
    Tom Powers
    Tom Powers
    • Mr. Dietrichson
    Richard Gaines
    Richard Gaines
    • Mr. Norton
    Fortunio Bonanova
    Fortunio Bonanova
    • Sam Gorlopis
    John Philliber
    • Joe Pete
    Lev Abramov
    • Stage Hand
    • (sin créditos)
    James Adamson
    • Pullman Porter
    • (sin créditos)
    John Berry
    • Bit Part
    • (sin créditos)
    Raymond Chandler
    Raymond Chandler
    • Man Reading Magazine Outside Keyes' Office
    • (sin créditos)
    Edmund Cobb
    Edmund Cobb
    • Train Conductor
    • (sin créditos)
    Kernan Cripps
    Kernan Cripps
    • Conductor
    • (sin créditos)
    Betty Farrington
    Betty Farrington
    • Nettie - Dietrichsons' Maid
    • (sin créditos)
    Bess Flowers
    Bess Flowers
    • Norton's Secretary
    • (sin créditos)
    • Dirección
      • Billy Wilder
    • Guionistas
      • Billy Wilder
      • Raymond Chandler
      • James M. Cain
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios512

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    Resumen

    Reviewers say 'Double Indemnity' is acclaimed for Billy Wilder's direction, standout performances by Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson, and its pioneering film noir style. The intricate plot, dark themes, and exploration of human nature are often lauded. Voice-over narration, sharp dialogue, and unique cinematography heighten its suspense. Despite minor pacing issues and plot inconsistencies, its impact on the noir genre and cinema is significant. The lead characters' chemistry and moral complexities are noted for enhancing dramatic tension.
    Generado por AI a partir del texto de las opiniones de los usuarios

    Opiniones destacadas

    jet1415

    The Not-So-Perfect Crime

    Double Indemnity begins with a car speeding on a dark, rainy night. This begins the classic film noir plot. Billy Wilder directs a steamy and grabbing film. Billy Wilder pulls this film together with an awesome cast, perfect lighting and an amusing script. Fred MacMurray plays Walter Neff, an unsuspecting insurance salesman. He is unsuspecting in the sense that he is unaware of what the ‘femme fatale' is going to put him up to. Barbara Stanwyck plays the ‘femme fatale', Phyllis Dietrichson, a manipulative housewife who will stop at nothing to get what she wants.

    The film begins in present day giving insight into Walter's current plight. Walter Neff gives the voice over as the plot unfolds. It starts in the present time allowing the audience to know what crime has happened without the interesting details to support it. This is an interesting twist to the common film noir plot. Knowing the crime at hand keeps the audience hungry for those details. Walter is the victim of the beautiful woman who manipulates him into pulling off a murderous insurance fraud scam. Walter is an impeccable insurance salesman and Phyllis, in some ways, forces him into providing her with what she needs. Phyllis is the typical ‘femme fatale' who has no problem in using others to get what she wants.

    Throughout the film Walter is completely enamored by Phyllis. Walter could have coined the pet name ‘baby' with his fondness towards Phyllis by calling her that throughout the film. He is easily distracted by her beauty and evil charm. He seems to be entranced by Phyllis's ankle bracelet, so much that he mentions it numerous times. This allows the audience to feel the sexual tension between the two. Phyllis, on the other hand, shows the audience that she can use and abuse anyone who gets in her way. While believably attracted to Walter, Phyllis keeps him hopping to fulfill her needs. She pulls him in and handles him like a puppet. She is the epitome of the film noir genre's ‘femme fatale'.

    Barton Keyes, played by Edward G. Robinson, is Walter's co-worker and friend at the insurance company where he works. Barton closely investigates all insurance claims that come across his desk. While at one time Walter assuredly agreed with this practice, once Barton starts to unravel the mystery behind Mrs. Dietrichson's insurance claim, we begin to see just how nervous and paranoid Walter is. Walter then begins to see Phyllis in a whole new light. Barton plays the integral part by piecing together details that are thrown around throughout the film. This keeps the tension high for the filmgoer. These details are pieced together perfectly through to the end.

    Double Indemnity has the perfect plot with the perfect cast. Walter and Phyllis' attraction are tasty and the crime is wonderfully puzzling. Double Indemnity is the true film noir giant.
    9Spondonman

    It fits together like a watch

    I've now seen this movie 14 times in 25 years, at all times of the year, in all moods, sober or not etc - but always at night. I recorded my copy off TV in 1987 so I can only imagine what a remaster would do for it. With an atmosphere thick enough to cut with a knife it never fails to engross and enchant me, and although it's been dated for 40 years or more still seems relevant and watchable today. TV, answer phones, recordable CD/DVD, memory sticks and the internet have all come between us and yet I can still watch Fred MacMurray speaking into a Dictaphone without a qualm. Who wears a hat in California nowadays? Who buys beer whilst driving! Lift attendants have gone but I can still believe in Charlie working and laughing away in the garage past 11 at night.

    Woman and man agree to murder woman's husband but on the way to the cemetery they face grilling by insurance company. I think everything has been said before on the IMDb - by those who think it's one of the best films ever made! To those who simply think the main problem is that it's dated I wish you could see the TV commercials that dug into DI back in '87 - what a hoot - and compare. I've just noticed the print TCM UK is showing in 2005 is lip-synced out, very wobbly Rosza music track, fading and ageing fast - worse than my 1987 video tape (maybe logically). They're supposed to be encouraging people to enjoy the classics but they won't do that with such inferior screening copies. Dear TCM UK, this is an impressive iconic film - it deserves a billion dollar remaster authorised by the Library of Congress, not repeatedly trotting out unimpressive cheap worn dupes to fill those 2 hour slots.

    Everything about DI from the acting, production, direction, and music is superbly dignified and is as "close to perfection" as human beings are probably allowed to get with this form of Art - especially with the more limited technology at their disposal in '44. When most films from now are long forgotten and dated DI will still be getting re-runs on TV and art-house cinemas - God and remasters willing - that is the fact of it.

    Fortunia Bonanova certainly was fortunate to have appeared in bit parts in 2 of the best films ever made - Citizen Kane the other.
    Mmmavis

    best American Film Noir ever made

    "I liked the way that anklet bit into her leg. I wanted to see her again, up close, without that silly staircase between us."--Walter Neff, after meeting Phyllis Dietrichson This is Fred MacMurray like you've never seen him before. He's edgy and sharp, and amoral, although he hides it well from his boss. Barbara Stanwyck's astounding performance set the standard for bad girls in Film Noir for years to come. I love this film because it is a perfect example of how the censorship of the time made it so that filmmakers had to get the sexiness across in a subtle way. This movie is undeniably sexy, and there's not a single 'love scene' in it!
    dougdoepke

    An Odd Triangle

    No need to recap the plot or echo consensus points.

    From the minute he sees her slinking down the stairs in that spangled ankle bracelet, he's hooked. Walter Neff's already boarded that long, lonely trolley down the one-way track. Yes indeed, sultry Phyllis appears to be just the ticket he's been looking for. Great noir classic. All in all, Neff should have paid attention to that other member of the oddball triangle. Old man Keyes may be a born cynic, but despite himself, he's a father figure looking for a son to take his place, and warning Neff about the "Margie's" of the world. What he doesn't know is that this "Margie" definitely doesn't drink out of a bottle. What's more, Neff's already chosen to ride with the flashy crowd, get out of that dumpy apartment, and get into Phyllis's vicious little insurance swindle. As Keyes tellingly remarks, "You're not smarter than the rest, Walter, just a little taller." I like to think that Walter finally realizes his folly in that brilliant final scene, even if it is too late. Still, the film's cynical veneer is misleading. Because beneath all the deceits, betrayals, and ironies, lies a lighted match and one of the odder father-son relationships in Hollywood annals.
    8gftbiloxi

    A Noir Classic

    Author James M. Cain virtually created a new genre with his extra-tough, sin-blackened, and sex-drenched novels--and they were so successful with the public that not even 1940s Hollywood could resist. The result was three of the most famous films of that decade: MILDRED PIERCE, THE POSTMAN ALWAYS RINGS TWICE, and DOUBLE INDEMNITY. Although POSTMAN is probably the better film, INDEMNITY is the most famous--possibly due to the story's truly psychotic edge, which is given full life by Barbara Stanwyck in one of her most celebrated performances.

    Like POSTMAN, INDEMNITY offers the story of a married woman who plots with her lover to murder her husband. Given MacMurray's typically "good guy" image, I didn't expect to believe him in the role of Walter Neff in the role of skirt-hungry Walter Neff--but MacMurray's performance is exceptionally good here, and all the more effective because it so completely unexpected. But while MacMurray has most of the screen time, it is really Stanwyck and Edward G. Robinson who dominate the film. Stanwyck is truly memorable here, and gives us a woman who seems at once sexed-up and completely frigid, at once completely natural and absolutely artificial. It is a remarkable and often disturbing effect. Robinson, who endured decades of type-casting, is equally good as the blustery, slightly comic, and absolutely honest insurance man whose job it is to ferret out suspicious claims; it is largely due to his performance, which gives the film a moral center, that we are able to buy into the otherwise off-beat performances that drive the action.

    This was one of director Billy Wilder's first major hits, and he deserves considerable credit for making the weird elements of the story work as a whole, keeping the film smartly paced, and heaping it up with atmosphere. So influential that its impact would be difficult to over-estimate, DOUBLE INDEMNITY is a touchstone for the entire film noir genre. Recommended.

    Gary F. Taylor, aka GFT, Amazon Reviewer

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    Argumento

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    ¿Sabías que…?

    Editar
    • Trivia
      Author James M. Cain later admitted that if he had come up with some of the solutions to the plot that screenwriters Billy Wilder and Raymond Chandler did, he would have employed them in his original novel.
    • Errores
      When Walter first kisses Phyllis, a wedding ring can be seen on Walter's hand. Fred MacMurray was married, and the ring was not noticed until post-production.
    • Citas

      [last lines]

      Walter Neff: Know why you couldn't figure this one, Keyes? I'll tell ya. 'Cause the guy you were looking for was too close. Right across the desk from ya.

      Barton Keyes: Closer than that, Walter.

      Walter Neff: I love you, too.

    • Créditos curiosos
      Opening credits are shown over a silhouette of a man on crutches, walking toward the camera.
    • Conexiones
      Edited into Cliente muerto no paga (1982)
    • Bandas sonoras
      Tangerine
      (1941) (uncredited)

      Music by Victor Schertzinger

      Played on a radio

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    Preguntas Frecuentes29

    • How long is Double Indemnity?Con tecnología de Alexa
    • What is 'Double Indemnity' about?
    • Is "Double Indemnity" based on a book?
    • Is "Double Indemnity" based on a true story?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 16 de febrero de 1945 (México)
    • País de origen
      • Estados Unidos
    • Sitio oficial
      • Official site (United Kingdom)
    • Idioma
      • Inglés
    • También se conoce como
      • Double Indemnity
    • Locaciones de filmación
      • 6301 Quebec Drive, Hollywood Hills, Los Ángeles, California, Estados Unidos(Dietrichson house)
    • Productora
      • Paramount Pictures
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 927,262 (estimado)
    • Total a nivel mundial
      • USD 21,026
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 47 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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