Pacto de Sangue

Vintage Noir Film with gritty interpretation , atmospheric settings , crackling dialogue throughout and powerhouse filmmaking . This Billy Wilder's first thriller is one of the finest Noir film ever made . A scheming wife (Barbara Stanwyck) lures an insurance salesman (Fred MacMurray , though Alan Ladd, George Raft, Brian Donlevy, James Cagney, Spencer Tracy, Gregory Peck, and Fredric March were all up for the leading role) into helping murder her husband and then declare it an accident . Both of whom concoct a twisted scheme to collect the benefits of a insurance policy . As the hubby's policy contains a clause that states that if the husband's death caused by a moving train the policy pays double face value . The investigator's boss (Edward G. Robinson) , not knowing his colleague is involved in it , suspects murder and sets out to prove it .

This first-rate and entertaining American classic Noir film draws its riveting tale and power from the interaction of finely drawn roles as well as drama , emotion and moody atmosphere . This classic mystery thriller follows James M Cain's book fairly closely otherwise . Twisted film Noir about murder , troubled relationships , treason , dark secrets , including an unforgettable dialog ; being based on the James M Cain's novel , which in turn was based on the true story of Ruth Snyder, the subject of a notorious 1920s murder trial , being screen-written by the prestigious Raymond Chandler and the same Billy Wilder . However , Billy Wilder and Raymond Chandler did not get along well while writing this film's script, a process that was apparently filled with arguments . As Billy Wilder didn't really get on with the famous novelist whose constant drinking irritated the director . It packs a good realization , an original script , haunting atmosphere , intriguing events ; for that reason madness and murder prevail . Fred MacMurray is superb as insurance salesman coerced into murder plot and Barbara Stanwick as predatory and alluring Femme Fatale is magnificent . Here his colleague Edward G Robinson is extraordinary and as cool as ever ; he plays as the astute and stubborn investigator , his scenes with Fred MacMurray are awesome and at their best . But Edward G. Robinson's initial reluctance to sign on largely stemmed from the fact he wasn't keen on being demoted to third lead . Good support cast formed by notorious secondaries such as Porter Hall , Tom Powers , Jean Heather , Byron Barr and Fortunio Bonanova . And Raymond Chandler's cameo , this marks the only film appearance of screenwriter and novelist Raymond Chandler .

Exciting as well as complex film , possessing a mysterious and fascinating blend of gripping thriller , serenity , baroque suspense in which especially stands out the portentous performances , evocative cinematography in black and white by John F. Seitz and thrilling musical score by the classic Miklos Rozsa . The motion picture was stunningly directed by the great Billy Wilder , as the American Film Institute ranked this as the #29 Greatest Movie of All Time . The film was nominated for 7 Academy Awards but lost out on the night to Going my way (1944) by Leo McCarey. It got a deep inspiration for other films , it is particularly obvious for ¨Body heat¨ by Lawrence Kasdan with William Hurt , Kathleen Turner and Richard Crenna . Remade for TV in 1954 by Buzz Kulik with Frank Lovejoy , Ray Collins and Laraine Day , and 1973 TV remake of the 1940s classic by Jack Smight with Richard Crenna , Samantha Eggar , and Robert Webber .

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.

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

This is one of the best films of all time, not necessarily because of its story but because of the acting, direction, cinematography, lighting, and just the way that the story itself was told. At the time the film was released, the idea of revealing who the killer was in the opening scene was virtually unheard of, but it ended up being very effective because it allowed the audience to concentrate more on other elements of the film, which was the goal of Billy Wilder, the director. Instead of trying to figure out who the perpetrator was, there is more emphasis on how the crime was pulled off, what mistakes were made during the murder, who betrayed who, how close Barton Keyes (the insurance investigator) was getting to solving the case, and, probably most importantly, what kind of person Walter Neff is and whether or not sympathy should be felt toward him.

Barbara Stanwyck, in one of the most remembered performances of her extensive career, represents (with nearly flawless ease) the cold and ruthless manipulator who has no difficulty in ruining other people's lives in various ways (including death, if necessary) in order to get what she wants. Known in the film community as the `femme fatale,' this is someone who uses her sexual prowess, seductiveness, and emotional detachment to drag an unsuspecting person (generally an interested man) into a scheme from which she is expected to benefit heavily and he is most likely headed for destruction. In these types of films, the man often either finds his life in ruins or ends up dead, as is often (but not always) also the case with the fate of the femme fatale.

Barbara Stanwyck (as Phyllis Dietrichson, the murderous femme fatale in Double Indemnity) and Fred MacMurray (as Walter Neff, her ‘victim'), have amazing chemistry on screen. Their attraction is incredibly well portrayed, and the development of their relationship with each other is so convincing that what happens between them almost seems normal. Besides that, their mutually calculated interaction, although it seems at first like it has been rehearsed endlessly and ultimately brought unconvincingly to the screen, is exactly as it was meant to be, because it represents each character's intentions, even very subtly foreshadowing their future betrayals against each other. Phyllis has gone through every word she ever says to Walter in her head. She has practiced what she wants to say when she brings up the idea of life insurance to Walter in the beginning and she knows what she wants to say whenever they interact with each other because she has been planning for quite some time the prospect of murdering her husband in order to collect his fortune. Walter, conversely, methodically makes amorous advances as though this is something that he does regularly, and then ultimately he also plans out his conversations with Phyllis because he begins to suspect her and is sure to tell her only what he wants her to hear. This seemingly stiff dialogue brilliantly represents Phyllis and Walter's precise (and sinister) intentions, and it's quick pace creates a feeling of urgency and restlessness.

Probably the most fascinating and entertaining actor in the film, Edward G. Robinson, plays Barton Keyes, Walter's friend and employer at the insurance company where he works. Keyes is a very suspicious man who closely investigates the insurance claims which come into the company, having a striking history of accurately isolating fraudulent claims and throwing them out. His handling of Phyllis's (and Walter's, technically) claim and the way that he gets closer and closer to the truth create a great atmosphere of tension and drama.

Double Indemnity is nearly flawless. From the shocking and unexpected beginning to the already known but still surprising end, the audience is held rapt by the excellent performances, the brilliant and imaginative direction, and the flawlessly created atmosphere. This is excellent, excellent filmmaking, and is a classic film that should not be missed.

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.