000			02084nmm a2200265ki 4500
008			200925s1992 enka ob 000 0 eng d
020			_a9781838711962
020			_a1838711961
020			_z9780851702988 _q(paperback)
020			_z9781838715434 _q(EPDF)
020			_z9781838715427 _q(EPUB)
090			_aPN1997.D6553 _bS35 1992eb
100			_aSchickel, Richard, _eauthor. _918936
245			_aDouble indemnity / _cRichard Schickel.
250			_aFirst edition.
260			_aLondon : _bBritish Film Institute : _b Bloomsbury Publishing (UK), _c1992.
300			_a1 online resource (72 pages) : _billustrations
504			_aIncludes bibliographical references.
520			_aA new kind of film emerged from Hollywood in the early 1940s, thrillers that derived their plots from the hard-boiled school of crime fiction but with a style all their own. Appearing in 1944, 'Double Indemnity 'was a key film in the definition of the genre that came to be known as film noir. Its script creates two unforgettable criminal characters: the cynically manipulative Phyllis Dietrichson (Barbara Stanwyck) and the likeable but amoral Walter Neff (Fred MacMurray). Billy Wilder's brilliant direction enmeshes them in chiaroscuro patterns, the bright California sun throwing shadows of venetian blinds across dusty rooms, shafts of harsh lamplight cutting through the night. Richard Schickel traces in fascinating detail the genesis of the film: its literary origins in the crime fiction of the 1930s, the difficult relations between Wilder and his scriptwriter Raymond Chandler, the casting of a reluctant Fred MacMurray, the late decision to cut from the film the expensively shot final sequence of Neff's execution. This elegantly written account, copiously illustrated, confirms a new the status of 'Double Indemnity' as an undisputed classic.
610	2	4	_aBritish Film Institute. _918937
650		4	_aFilm & Media. _918938
650			_aFilms, cinema. _2bic _918939
856			_uhttps://doi.org/10.5040/9781838711962?locatt=label:secondary_bloomsburyCollections
942			_cEBK
999			_c13386 _d13386