Double Indemnity

Rating:
Summary: Murder will out every time
Review: James M. Cain's reputation as a master of the noir genre rests largely on his phenomenally grim 1934 story "The Postman Always Rings Twice" and this short tale, the 1935 classic "Double Indemnity." No other noir writer's reputation-whether Raymond Chandler, Dashell Hammett, or Cornell Woolrich-rests on only two stories. Well, you could throw in "Mildred Pierce" as another Cain classic, but that still leaves only three bleak yarns worth mentioning. How is it possible to sustain a literary legacy based on two, maybe three, stories that you could read in three single sittings? Think movies. You can thank Billy Wilder and Raymond Chandler for Cain's enduring legacy. These two guys collaborated on the script for "Double Indemnity" the film, a film that has since become one of the classics of American cinema. And don't forget Joan Crawford won an Oscar for her work in the screen version of "Mildred Pierce." Too, if memory serves correctly, there are two film versions of "The Postman Always Rings Twice," one of them starring Jack Nicholson and Jessica Lange. If I were a writer, I wouldn't be too enthusiastic that my legacy rested on film versions of my stories. From what I've read of the noir masters, Cain isn't nearly as good of a storyteller as Chandler, Hammett, or Woolrich. He isn't as good as Jim Thompson or David Goodis either, for that matter.

"Double Indemnity" tells the disastrous story of one Walter Huff. An insurance salesman working a route in California in the 1930s, Huff spends his days trying to get clients to increase their insurance holdings. His life changes for the worse when he calls on a household where he falls under the poisonous charms of Phyllis Nirdlinger, the wife of a wealthy oil executive. When this woman inquires about procuring an accident policy for her husband in case he "happens to have an accident" while inspecting oil wells, Huff knows something is up. In his business, no one approaches an agent about buying accident insurance unless there's a nefarious murder plot in the works. At first repelled by Phyllis's roundabout suggestions to dispatch her husband, he soon falls in line with the plot by insuring her husband with a double indemnity accident policy that will pay tens of thousands of dollars in case the poor chap expires in a railway mishap. What follows is noir carried to the nth degree, as both Huff and his new girlfriend hatch the plot in minute detail. The insurance agent plans his alibi with the sort of meticulous attention one would associate with a master criminal. He coaches Phyllis on the finer points of speaking to the police, dealing with inquests, and interacting with the insurance agency. She'll need all the help she can get because Huff knows that the head of the claims department, Keyes, is one tough bulldog when it comes to investigating scams.

The actual crime, which involves Huff playing a central role in the murder, is a foul play masterpiece. No one should ever take a fall in this expertly carried out misdeed, but in James Cain's world murder will out every time. In no time at all, Keyes and the president of the insurance company balk at paying out a huge claim. After bandying around the idea that Nirdlinger took his own life, Keyes arrives at a suspicion of foul play. This conclusion sets in motion a whole host of maneuvers requiring Huff to take greater and greater measures to keep the whole thing under wraps. Complicating things are Lola, Phyllis's stepdaughter, and her boyfriend Nino Sachetti. Up until the explosive revelations preceding the conclusion, Huff still looks like he will get away with the wicked deed. The crime is brilliant with one huge exception: Walter Huff, insurance agent and murderer, forgot to investigate Phyllis Nirdlinger's background. If he had, Huff probably would never have jumped into this mess with both feet. Oops.

"Double Indemnity" the book isn't nearly as good as "The Postman Always Rings Twice." I had several problems with the story, the biggest being Keyes's quick analysis of what really happened to Phyllis's husband. No one, neither the police nor an insurance claims investigator, could figure this crime out with the ease that Keyes does. Another difficulty with the story is the conclusion. Once everything shakes out, I simply didn't buy what happened to Phyllis and Huff. Too, it just isn't a satisfying conclusion for a noir story. I also had a problem with Walter's sudden change of heart after he removed Nirdlinger from the scene. Here's a guy who is cool and collected, a guy who delivers a lengthy speech about how to commit a coldhearted murder without getting caught and why he is willing to rip-off the insurance company, and then he turns into a nervous nelly after the crime. It is conceivable that this could happen, but it didn't work here.

Despite these problems, noir fans will want to spend a few hours with "Double Indemnity." The book is exceedingly short, the story moves at a lightening fast clip, and the characters are interesting. After reading the book, make sure to check out the film versions of "Double Indemnity," "Mildred Pierce," and "The Postman Always Rings Twice." Then spend even more of your time reading Chandler, Woolrich (especially Woolrich), and Hammett. As someone who has read a fair share of noir novels, I think you will like these other three authors more than you will like Cain. I shall give "Double Indemnity" four stars because most of the book works, but it's definitely a lesser entry in the noir canon.

Rating:
Summary: Early Trendsetter--How Often Imitated?
Review: James M. Cain, himself an obvious student of the Hemingway he-said, she-said school of short, clipped dialogue, was the trend-setter for the entire short, clipped novel. At only 128 pages, his Double Indemnity is a shining example of how much impact can be achieved with a sharp cutting knife. No needless, meandering flashbacks that fill no bill.Nothing aping colorization of black and white film.No superfluous, long-winded narrative. Without heavy-handed or preachy overtones, he simply tantalizes with a poignant piece of noir. Cain was one of the trend setters of the early 20th century thriller novel. (How often have you seen the basic theme--man meets Spider Woman type, married to a wealthy man--both fall for each other and together plan the demise of this threesome's lone obstructionist? Hundreds of times? Thousands?)>With Walter Huff it's a quick pop into the "situation," speedily conceived plan, faulty execution of plan, fitting consequences and conclusion. No adornments, embellishments, no exessive Christmas tree ornaments, horns, funny hats or whistles of any kind. >Jack Webb's Dragnet character, Joe Friday, said it best, "Just the facts, ma'm." That's exactly what we get here.

Rating:
Summary: Double Indemnity
Review: Murphy Lee
May 22, 2002
Double Indemnity
By James M Cain

The book Double Indemnity, by James M Cain is a mystery about an old man, Mr. Nirlinger, who is murdered by his second wife, Phyllis Nirlinger, and insurance agent, Mr. Huff. Mr. Nirlinger's daughter, Lola, was just an innocent person who has many suspicions about Phyllis. This story has many twist's and one is when we find out the truth about the first Mrs. Nirlinger's death. This book is brain candy for those who love mysteries, as for those who like regular novel's I would not recommend this book. If you are looking for an interesting twist on what you would normally read than read this book because if you are very open minded you will consider this book somewhat worth the read. As for me I did not like the book but I would recommend it for people who like mysteries and those who just want to open there spaces, you might just enjoy it.

Rating:
Summary: A good, quick read
Review: Owing mostly to a tight, fairly ingenious plot, "Double Indemnity" is a pretty good entry in the crime-don't-pay school of hard-boiled prose, though I would have preferred to see more attention paid in the characterization department. And is it just me or does this book more than slightly resemble Cain's earlier "The Postman Always Rings Twice"? I'm nitpicking, of course, as the book's clever twists and shot-from-a-cannon pace make up for anything one might whine about. If you generally like this sort of thing, you'll probably love this.

Rating:
Summary: Chandler's Equal or Better In Inventing Classic Crime
Review: Personally, I am even taken with Cain's work more than Chandler's in the hard boiled American genre school of crime. One enormous advantage he had was his plots were incredibly inventive. Part of this was because he knew the insurance industry cold and could put insider information about how insurance could impact on murder cases. This novel is also set in 1940s LA where insurance agent Walter Huff unfortunately falls for his client's wife, who wants to knock him off with Huff's help. Phyllis is a femme fatale golddigger who everyone but Huff can see straight through. He comes up with the idea of getting the husband to sign a huge double indemnity insurance policy that will pay them double when the husband meets with an untimely "accident." Barbara Stanwyck and Fred McMurray played these two roles in the movie version and they were spectacular in it. "Body Heat" a modern movie in this style strongly reminds me of this early novel and film. If you were taken with "Body Heat," you will be equally taken with "Double Indemnity."

Rating:
Summary: A FAST TRACK TO HELL
Review: Shine a light into the lower regions of the human heart, and you'll find greed, lust, desperation--and murder. In greater or lesser portions, depending on the time of night. You'll find the endless rationalizations you can concoct to justify sending a man to his grave. You'll find the zenith of your imagination as you anticipate how they'll try to send you to the electric chair--but you're too smart for 'em. You've thought of every scenario that could foil you, except one: There's a guy getting pumped full of embalming fluid because you wanted a fast buck. And it's eating you alive.

Peer into the heart of Walter Huff, an insurance salesman with an impeccable work record, single, good-looking, and burning to stick it to the insurance company but good. A consummate salesman, he's sold his soul without even noticing. He's a chemical reaction . . . waiting for a catalyst to set him off.

Enter Phyllis Nirdlinger, early 30s, blonde, shapely--and married--who asks, "Do you handle accident insurance?" And the train leaves the station, picking up speed, bound for Hell with no turning back.

Swift and Spartan, this book snaps like a downed electrical wire. You will walk beside Walter Huff, every step of the way. You'll hear the rain smacking the roof of his Los Angeles bungalow, as he stares at the cozy fire, talking around the simple fact that he'll do anything for a pile of money. Your nerves will sing, then shrill, in the last moments before he reaches out to commit murder. You'll drip cold sweat as he becomes a rat clawing at any route of escape he can find--for the money doesn't matter anymore. Now he just wants to get away with it. He devolves from predator to prey.

And what he learns of the human psyche will numb you to the bone.


Rating:
Summary: check yourself
Review: the scene I picked is when they killed Mr Nirdlinger. why i choose this scene was the one that cought my eye. but i dont like this book.

Rating:
Summary: Classic story in the genre of roman noire!
Review: This book spanned several movies after its release that all had the noire theme or feel to them, e.g., The Maltese Falcon, Double Indemnity et al. This novel in question, i.e., Double Indemnity (Vintage Crime/Black Lizard) by James M. Cain ,portrays the story of smalltime insurance salesman Walter Huff whom is given the assignment by one of his wealthier clients Phyllis Nirdlinger to "waste" her husband. This very brief but complex novel is a perfect example of his roman noire and was an inspirational source for many writers and directors.

Rating:
Summary: Seamless
Review: This is a wonderfully tight-written book, with a plot, characters and scenes that seem to weave themselves together effortlessly.

Rating:
Summary: Read the book, see the movie
Review: This is another of those James M. Cain novels that you can read in an hour with one hand tied behind your back.

Let me try that again. This is another of those James M. Cain novels that you can read in an hour without breaking a sweat.

Okay, how's this? This is another of those James M. Cain novels that you can read in an hour even if you're the kind of person who moves your lips when you read.

This is not to imply that Cain is the kind of writer who mixes his metaphors or hasn't gotten beyond primer prose. I mean, Shakespeare mixed his metaphors. I guess what I'm trying to say is that if Cain wrote literature then it was by accident. Come to think of it, Shakespeare was only trying to turn a shilling, please a patron or give an actor some range. I guess real literature comes about when you're just trying to make ends meet and somehow you get inspired and don't even know it.

Cain didn't think much of this, calling it something like tripe and saying it would never be published as a book. He wrote it to appear as a serial in Redbook magazine, but Redbook rejected it so it appeared in Liberty magazine in 1935. It didn't make hardcover until the forties just before it was made into an excellent movie by Hollywood great Billy Wilder starring Barbara Stanwyck, Fred MacMurray and Edward G. Robinson. In fact, to be honest, the movie is better than the book, which as everyone knows, is usually not the case.

He also wrote this to take advantage of the surprising success of his first novel, The Postman Always Rings Twice (1934), which Knopf published to critical acclaim on its way to bestsellerdom. Cain's stream-lined and hard-boiled faux Hemingway style charmed the critics and made the dime novel reader feel like he was reading Nathanael West or maybe F. Scott Fitzgerald. Re-reading Cain's first person narrative today is a lot like watching a movie from the forties, mainly because the movies so often imitated him with their film noir voice-overs and desperate crimes for love or money. Indeed a number of Cain's novels have been made into movies, Double Indemnity, Postman, and Mildred Pierce, the most memorable.

Here we have a painstakingly planned murder for the insurance money. It is so perfectly conceived that it would take a miracle for everything to fall into place. And yet it does, and yet something goes wrong. In the Wilder movie, insurance salesman Walter Neff (Walter Huff here) does it mostly out of an irresistible desire to put something over on the insurance business he has worked at all his adult life, while here in Cain's novel, Huff explains his motivation to Phyllis Nirdlinger, sociopathic wife of the intended victim: "Just pulling off some piker job, that don't interest me. But this, hitting it for the limit, that's what I go for. It's all I go for."

He means that the "accident" has to take place on a train so that they can collect a double indemnity from a standard clause in the policy. Today's amoralist might proclaim that he did it for the rush of doing something almost nobody ever got away with.

My problem with the novel is not the convenient way everything fell into place, or with how unlikely it was that Keyes might figure what he figured out, but with the stupid ending. You've got to read it to believe it, actually. Billy Wilder changed the ending in the movie to something more plausible. He, along with Raymond Chandler, who worked on the script with him, actually improved on the Cain novel in several places. As in Postman, Cain's antihero does his dirty work from the back of the car while the wife drives and the victim rides shotgun. (The contrivance needed to get him into the back seat strains credence but Wilder fixes that.) In truth, Cain was right: this novel needed a little work. He does NOT, however, repeat the sexual "celebration" beside the car after the murder in Postman, a scene that so shocked depression era readers. Indeed, here the two murderers are already beginning to sour on one another.

What Cain does so well is to probe into our dark psyches and to let loose the dogs of dirty deeds done dumb so that we might experience vicariously the hell they might lead to. Notable in the novel is the character of Phyllis, an ex-nurse with the psychopathic mind of a serial killer. That part was played down in the movie. In the movie Cain's antihero is given human dimension through the mutual affection he has with Keyes. In the novel that affection is muted, but Cain humanizes him by showing the sincere, but hands off, love he has for the dead man's 19-year-old daughter.

It's worth reading this to compare it to the movie and to see how two great screenwriters (Wilder and Chandler) handle material from a novel. It is also worth reading for the snapshot of pre-World War II Los Angeles afforded. Of course any true film noir fan or student of American lit ought not to miss this. I suggest however that you write your own ending.