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La fiamma del peccato

Titolo originale: Double Indemnity
  • 1944
  • VM16
  • 1h 47min
VALUTAZIONE IMDb
8,3/10
175.918
LA TUA VALUTAZIONE
POPOLARITÀ
2599
2087
Edward G. Robinson, Barbara Stanwyck, and Fred MacMurray in La fiamma del peccato (1944)
Trailer for Double Indemnity
Riproduci trailer2: 16
2 video
99+ foto
Film NoirHard-boiled DetectiveCrimeDramaMysteryThriller

Un rappresentante delle assicurazioni si lascia convincere da una casalinga seduttrice in un piano di omicidio che suscita il sospetto di un investigatore assicurativo.Un rappresentante delle assicurazioni si lascia convincere da una casalinga seduttrice in un piano di omicidio che suscita il sospetto di un investigatore assicurativo.Un rappresentante delle assicurazioni si lascia convincere da una casalinga seduttrice in un piano di omicidio che suscita il sospetto di un investigatore assicurativo.

  • Regia
    • Billy Wilder
  • Sceneggiatura
    • Billy Wilder
    • Raymond Chandler
    • James M. Cain
  • Star
    • Fred MacMurray
    • Barbara Stanwyck
    • Edward G. Robinson
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    8,3/10
    175.918
    LA TUA VALUTAZIONE
    POPOLARITÀ
    2599
    2087
    • Regia
      • Billy Wilder
    • Sceneggiatura
      • Billy Wilder
      • Raymond Chandler
      • James M. Cain
    • Star
      • Fred MacMurray
      • Barbara Stanwyck
      • Edward G. Robinson
    • 512Recensioni degli utenti
    • 146Recensioni della critica
    • 95Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Film più votato #103
    • Candidato a 7 Oscar
      • 5 vittorie e 9 candidature totali

    Video2

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

    Foto119

    Visualizza poster
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    Interpreti principali33

    Modifica
    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
    • (non citato nei titoli originali)
    James Adamson
    • Pullman Porter
    • (non citato nei titoli originali)
    John Berry
    • Bit Part
    • (non citato nei titoli originali)
    Raymond Chandler
    Raymond Chandler
    • Man Reading Magazine Outside Keyes' Office
    • (non citato nei titoli originali)
    Edmund Cobb
    Edmund Cobb
    • Train Conductor
    • (non citato nei titoli originali)
    Kernan Cripps
    Kernan Cripps
    • Conductor
    • (non citato nei titoli originali)
    Betty Farrington
    Betty Farrington
    • Nettie - Dietrichsons' Maid
    • (non citato nei titoli originali)
    Bess Flowers
    Bess Flowers
    • Norton's Secretary
    • (non citato nei titoli originali)
    • Regia
      • Billy Wilder
    • Sceneggiatura
      • Billy Wilder
      • Raymond Chandler
      • James M. Cain
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti512

    8,3175.9K
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    Riepilogo

    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.
    Generato dall’IA a partire dal testo delle recensioni degli utenti

    Recensioni in evidenza

    10jmholmes-73727

    Movie Heaven, Baby

    Barbara Stanwyck changed the trajectory of her career with her ruthless, icy performance here. Fred MacMurray, however, would never again allow himself to duplicate anything similar to Walter Neff's troubled, doomed portrayal again on screen. Playing against their dark alliance, it is left to Edward G. Robinson to win the audience over as he struggles to shed light on the insurance fraud and murder. This script should be studied by anyone who plans to write for TV or movies. Note the significant changes Wilder and Chandler made from James Cain's original novel - changes Cain admitted were improvements. Especially worthy of mention is the level of artistry displayed in the final minutes when, after an hour and a half of of bitter nastiness, Wilder gives us just the smallest spoonful of sugar that wraps everything up perfectly. There's almost something criminal when evil is such a treat to watch.
    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.
    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.
    10ccthemovieman-1

    Justifiably At The Top Of Most Film Noir Lists

    This is one of the best-liked classic films of all time and I am among that large group of fans as well.

    Few movies have ever had dialog this entertaining.....at least the conversations between Barbara Stanwyck and Fred MacMurray. I think it's a big appeal to this movie, except to younger folks who look at it as "cheesy."

    I read the book, Double Indemnity written by James Cain, and was surprised that the film's snappy dialog was not in it. This is one of the rare times when the movie was far better than the book. That's not a shock after you find out that literary giant Raymond Chandler and Hall Of Fame director Billy Wilder combined to write the screenplay,

    For a murder/suspense story, there is very little action, almost none, yet there are no boring lulls. The three main actors - Stanwyck, MacMurray and Edward G. Robinson, are what make this so good.

    MacMurray's narration is fun to hear as he tells the story in flashback, from the beginning by dictating into an old Dictaphone to his co-worker Robinson. The latter is almost mesmerizing in his performance, the way he delivers his lines. He can even make a speech about something as boring as insurance and still keep you riveted to the screen.

    Stanwyck was no sex symbol (at least to me) but she looked great here in the most seductive of 1940s clothing and, like Robinson, has a distinctive voice and accent that keeps your attention.

    This film was the inspiration for the 1980 movie, "Body Heat," starring William Hurt and Kathleen Turner. That, too, was a very, very good movie....but not many films are in the class of this one.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      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.
    • Blooper
      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.
    • Citazioni

      [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.

    • Curiosità sui crediti
      Opening credits are shown over a silhouette of a man on crutches, walking toward the camera.
    • Connessioni
      Edited into Il mistero del cadavere scomparso (1982)
    • Colonne sonore
      Tangerine
      (1941) (uncredited)

      Music by Victor Schertzinger

      Played on a radio

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    Dettagli

    Modifica
    • Data di uscita
      • 12 ottobre 1946 (Italia)
    • Paese di origine
      • Stati Uniti
    • Sito ufficiale
      • Official site (United Kingdom)
    • Lingua
      • Inglese
    • Celebre anche come
      • Pacto de sangre
    • Luoghi delle riprese
      • 6301 Quebec Drive, Hollywood Hills, Los Angeles, California, Stati Uniti(Dietrichson house)
    • Azienda produttrice
      • Paramount Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 927.262 USD (previsto)
    • Lordo in tutto il mondo
      • 21.026 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 47 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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