[Reading] ➲ Double Indemnity ➺ Richard Schickel – Dcrjservices.co.uk

Double Indemnity summary Double Indemnity, series Double Indemnity, book Double Indemnity, pdf Double Indemnity, Double Indemnity 0685d7c1a1 Amazing E Book, Double Indemnity By Richard Schickel This Is Very Good And Becomes The Main Topic To Read, The Readers Are Very Takjup And Always Take Inspiration From The Contents Of The Book Double Indemnity, Essay By Richard Schickel Is Now On Our Website And You Can Download It By Register What Are You Waiting For Please Read And Make A Refission For You


10 thoughts on “Double Indemnity

  1. says:

    NEFF I wish you d tell me what s engraved on that anklet PHYLLIS Just my name NEFF As for instance PHYLLIS Phyllis NEFF Phyllis I think I like that PHYLLIS But you re not sure NEFF I d have to drive it around the block a couple of times.PHYLLIS There s a speed limit in this state, Mr Neff Forty five miles an hour NEFF How fast was I going, officer PHYLLIS I d say about ninety NEFF Suppose you get down off your motorcycle and give me a ticket PHYLLIS Suppose I let you off with a warning this time NEFF Suppose it doesn t take PHYLLIS Suppose I have to whack you over the knuckles NEFF Suppose I bust out crying and put my head on your shoulder.This itty bitty 69 page book explains how Billy Wilder hired Raymond Chandler to co write the script which took James M Cain s magazine serial and blowtorched it into something delicate, delicious and dangerous It wasn t an easy process One day Chandler did not appear for work Instead ...


  2. says:

    I used to know someone who taught film studies and specialised in film noir who said he had seen Double Indemnity so many times he could no longer physically watch it I didn t think to ask what happened, whether he broke out in a cold sweat and fled the theatre screamingwhich would have been disconcerting for his students But all courses on film noir will show Double Indemnity, all essays on film noir will mention it If you list the attributes of film noir Double Indemnity will tick the most boxes Yet, although I think it is a good film and although I love film noir, I m not fully convinced by the film s reputation It has a wonderfully witty and well constructed script and it is a deeply efficient movie, but it hasn t the sense of noir delirium that I treasure in some ways I find Double Indemnity a very staid film One of the reasons for my reading Richard Schickel s essay was to find out what I might have overlooked, reasons to return to the film again with new expectations Sadly, Schickel didn t provide this The focus of the essay is on the transition of James M Cain s book into Billy Wilder and Raymond Chandler s witty and well constructed script and the resulting efficient movie Schickel s obvious love for the film is based on those aspects I recognise, but don t think are enough to give it the status of a major...


  3. says:

    Schickel s volume is mostly given over to making a case for Double Idemnity as not just legitimate but superlative cinema, particularly of the film noir genre which was probably an exciting argument in 1991, when this BFI Classics entry was published, but inevitably begs a So what style response today There are some interesting quotes from director Billy Wilder, who was still alive at time of publication, but most of the production anecdotes and points of evidence are repeated in Schickel s audio co...


  4. says:

    Schickel s approach here is largely to address Double Indemnity as the adaptation of a novel, and to compare and contrast film and book, which is an OK if not very original perspective to adopt, but loses any potential interest when the two works are not granted an even handed approach Schickel confers Wilder with apparent infallibility, excepting one moment where he oddly dismisses Wilder s high opinion of the original ending, privileging his own judgement despite having never seen the footage in question He mentions in the acknowledgments a recent 1991, vs a 1992 publication date interview he conducted with Wilder as the primary source of the director s quotations included here, but it almost would have been unnecessary to disclose this There s a fawning, ingratiating quality to the author s treatment of Wilder, as if hoping the director will read it and perhaps think fondly of the critic as a friend there s a particularly uncomfortable moment toward the end where Schickel recounts a petty revenge taken by Wilder, clearly expecting us to be as charmed by and approving of it as he is.Meanwhile, Schickel seems almost entirely dismissive tone toward the pulp fiction that inspired film noir, striking the very type of snobbish pose that led the books and the movies they influenced to have to fight an uphill battle for so long Schickel s dismissive even of some of the respected adaptations as well, for example, The Postm...


  5. says:

    The conventional wisdom is that James M Cain s The Postman Always Rings Twice is his greatest novel pub 1934 but Double Indemnity is the classic movie adaption of his work rel 1949.This is probably true, as far as it goes, but the assessment is repeated so often that it risks overlooking Mildred Pierce and completely underestimating both the minor classic qualities of The Postman on film rel 1946 and, importantly, Double Indemnity in print pub 1936 This book on Billy Wilder s film noir adaption falls into this trap.There are times when the author Richard Schickel implies that the film s source material was a little sub standard that is until the screenwriter Raymond Chandler got his expert hands on it This is absolute nonsense and spoils what is otherwise an excellent and concise account.According to Susan Hayward Cinema Studies , pub 2000 , critical literature on literary adaptations is somewhat thin This is a shame because it is a fascinating area of exploration, particu...


  6. says:

    This analysis is strongest on the literary roots of film noir and the creation of the Double Indemnity screenplay by writer director Billy Wilder and Raymond Chandler, based on the novel by James M Cain.The film, an undeniable classic, feels good, rather than truly great Almost every noir motif this film consolidated is realized with dynamism, gusto and perversity in a later film noir A Hollywood studio decorousness and classical harmoniousness overlays this story of lust, greed, murder and betrayal Director Billy Wilder was always better at scripting and performance than movement and visual style To create a mad world you need a mad director like Orson Welles or Robert Aldrich.Amongst the BFI Film Classics series, this one belongs in the upper half but not the t...


  7. says:

    Writers for the BFI Films Classics Series have considerable latitude in their approaches Richard Schickel wants to figure out why this movie is so damn good, and he focuses on the screenwriting process in which two rather incompatible characters Raymond Chandler and Billy Wilder essentially created the noir template M...


  8. says:

    It s hard to review a book that s just one big review itself The BFI books can be a fun examination of one film or a dry academic rambling that sucks the fun of the movie This one was good but Schickel focuses the history of the movie than the movie itself T...


  9. says:

    a straightforward exposition of the film, and its production, in standard slipshod magazine boilerplate prose.


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