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How important was Edward G. Robinson in the success of DOUBLE INDEMNITY?


FredCDobbs
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I think he was very very important in this film. Without this character and this specific actor, I think this film would have been dull.

 

I think he should have received an Academy Award nomination for this film. This movie received 7 Academy nominations, but none for Robinson.

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Not only didn't he get a nomination for this, but he never got one for any film that he made. He also didn't live to receive an honorary Oscar awarded in 1973.

 

 

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Edward G. is always important in every movie he's in.

 

But to say that *Double Indemnity* would be dull if someone else had played the part is silly. He's not even in most of the scenes, so what you seem to be saying is, *" Double Indemnity* is a dull movie with a few bright spots provided by Edward G. Robinson."

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>But to say that Double Indemnity would be dull if someone else had played the part is silly.

 

I was thinking of the 1973 TV version in which Lee J. Cobb played Keyes. He was just awful in that role. He over-acted, chewed the scenery, never smiled, whined and groaned and moaned all the way through the movie, similar to the way he acted near the end of Green Mansions (1959).

 

Robinson's portrayal was just perfect.

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Absolutely! Edward G. Robinson was critical to this film. The level of suspense would not have been the same without him. We the audience watch him totally dismantle this so-called 'perfect murder' in such a natural way and at a pace which is so believable; not hurried, and just enough to keep us on edge. He is certainly the reason that I keep watching this film again and again...................

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Stanwyck got a nomination but MacMurray did not.

 

Nominations for this film:

 

Best Actress in a Leading Role

Barbara Stanwyck

 

Best Cinematography, Black-and-White

John F. Seitz

 

Best Director

Billy Wilder

 

Best Music, Scoring of a Dramatic or Comedy Picture

Mikl?s R?zsa

 

Best Picture

(Paramount).

 

Best Sound, Recording

Loren L. Ryder (Paramount SSD)

 

Best Writing, Screenplay

Raymond Chandler

Billy Wilder

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Though Robinson has a smaller role he is riveting to watch. His character is very "alive" - alert, charismatic, with rapid-fire line delivery, etc. He's kind of a firecracker, and believable as a "formidable presence" - you don't want to try to cheat this insurance company with him and his "little man" on the trail.

 

I don't think the film would be "dull" without him, but his presence adds so much more to it.

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>Absolutely! Edward G. Robinson was critical to this film. The level of suspense would not have been the same without him. We the audience watch him totally dismantle this so-called 'perfect murder' in such a natural way and at a pace which is so believable; not hurried, and just enough to keep us on edge. He is certainly the reason that I keep watching this film again and again...................

 

Yes, exactly. :)

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Billy Wilder had to work hard to get all three stars of this film to accept their roles, including Robinson because it was a supporting part. But, yes, Eddie G. is wonderful to watch.

 

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!

 

 

This is a shot of the scene filmed of the gas chamber, originally intended as the ending of Double Indemnity. It was finally decided by Wilder to not use it because it was deemed too grim.

 

 

In the original screenplay's ending, with Walter Neff (Fred MacMurray) wounded and police sirens sounding in the background, after telling Barton Keyes (Robinson) that he loved him, Neff was to have said, "At the end of that trolley line, just as I get off, you be there to say goodbye. Will you, Keyes?" The scene was then to shift to the execution chamber.

 

 

The following description of that deleted scene is from More Than Night: Film Noir in Its Contexts, by James Naremore:

 

 

… the execution described in the longest version of the script greatly increases our sympathy for Walter, all the while raising questions about the criminality of the state. It also provides a tragic recognition scene for Keyes, who is shaken out of his moral complacency. This last point is especially important, because Keyes functions as a representative of the insurance company. Although he approaches his work with the intuitive flair of an artist and the intellectual intensity of a scientist, he remains a loyal agent of industrial rationality—a talented bureaucrat who, in effect, has helped to create the office building, the drive-in restaurant, the supermarket, and all the other landmarks of modern Los Angeles that the film relentlessly criticizes… One of the many virtues of Wilder’s original ending is that this complex, brilliantly acted character would have been made to confront his inner demon and to experience poetic justice. Keyes would have been brought face-to-face with the culminating instance of instrumental reason, the “end of the line” for industrial culture: the California gas chamber… For the original version of Double Indemnity, Paramount built an exact replica of the [san Quentin|http://forums.tcm.com/] gas chamber, depicting it as a modern, sanitized apparatus for administering official death sentences. At considerable expense, Wilder photographed the step-by-step procedure of execution, emphasizing its coldly mechanical efficiency. There was no blood, no agonized screaming, and, for once in the movie, almost no dialogue. Much of the sequence was shot from Walter’s point of view, looking through glass windows at the spectators outside the chamber—an angle creating a subtle parallel between the chamber and the “dark room” of a movie theater. When the fatal pellets dropped, clouds of gas obscured the windows, and we could barely make out Keyes standing amid the witnesses, turning his head away. Soon afterward, a doctor entered the chamber to pronounce Walter dead. According to the script, the original film ended as follows:

 

… All the witnesses have now left except Keyes, who stares, shocked and tragic, beyond the door. The guard goes to him and touches his arm, indicating to him that he must leave. Keyes glances for the last time towards the gas chamber and slowly moves to go out. CORRIDOR OUTSIDE THE DEATH CHAMBER CAMERA SHOOTING IN THROUGH THE OPEN DOOR AT KEYES , who is just turning to leave. Keyes comes slowly out into the dark, narrow corridor. His hat is on his head now, his overcoat is pulled around him loosely. He walks like an old man. He takes eight or ten steps, then mechanically reaches a cigar out of his vest pocket and puts it in his mouth. His hands, in the now familiar gesture, begin to pat his pockets for matches. Suddenly he stops, with a look of horror on his face. He stands rigid, pressing hand against his heart. He takes the cigar out of his mouth and goes slowly on toward the door, CAMERA PANNING with him. When he has almost reached the door, the guard stationed there throws it wide, and a blaze of sunlight comes in from the open prison yard outside. Keyes slowly walks out into the sunshine, a forlorn and lonely man.

 

 

Until someone rescues this scene from the Paramount vaults, we will never know if it is superior to the current version, and even then there may be room for debate. One thing, however, is clear: Keyes’s lonely walk out of the prison would have thrown a shadow over everything that preceded it. It was not until Sunset Boulevard and Ace in the Hole that Wilder would produce such a savage critique of modernity. Although the released version of his famous thriller remains an iconoclastic satire that challenges the censors, it is a lighter entertainment than the original and a much easier product for Hollywood to market. (According to the Paramount press book, photographs of Barbara Stanwyck in her wig and tight sweater were circulated to American soldiers overseas, and Edward G. Robinson’s performance enabled the studio to obtain a tie-in from the Cigar Institute of America.) No matter how much we admire the film that was exhibited in 1944, the form of cinema that the French described as noir is probably better exemplified by another Double Indemnity, which we have yet to see.

 

 

I wonder, as Naremore indicated in this 1998 writeup, if this scene still exists in the Paramount vaults.

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> Although he approaches his work with the intuitive flair of an artist and the intellectual intensity of a scientist, he remains a loyal agent of industrial rationality?a talented bureaucrat who, in effect, has helped to create the office building, the drive-in restaurant, the supermarket, and all the other landmarks of modern Los Angeles that the film relentlessly criticizes?

 

This is a perfect example of a writer over-analyzing the meaning of a film made long ago.

 

I think DOUBLE INDEMNITY and SUNSET BOULEVARD are attempts to blame women for the problems of weak men. The fact that the original script would have Walter Neff depicted more sympathetically at the end, shows that Wilder meant for the story to emphasize a killer's humanity at the expense of the woman who led him astray and into doing what he wound up doing. There is no attempt made to salvage Phyllis Dietrichson at all or portray her in any favorable light whatsoever. Unless using another man to get out from under an unwanted husband is a good thing. Often in Wilder's films women are over-exaggerated caricatures of a heinous grotesque nature and the men are basically upstanding and worth mourning, despite their errors in judgment and trusting such women.

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Hmmm...Fred, interesting question! I'm not sure I would say the movie is dull by any means if you completely excise either the Eddie G character, or imagine him being played by someone else. But man, I really can't even imagine this flick without Eddie G! First up, he's my all time favorite actor, man, he's the bomb! And his very presence in a flick just sends it to another level of cool. All I can say is that certainly the flick is much better WITH Eddie G in it, that is for sure!!

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Based on the author's description of the original script, it seems that Double Indemnity's deleted ending's primary intention, clearly, was as a condemnation of the death penalty. Perhaps it was just too powerful a scene and would have been a distraction from the overall movie as a film noir "entertainment." We'll never know unless the sequence can one day be restored so that we can judge for ourselves.

 

It wouldn't be until Susan Hayward faced that same coldly efficient gas chamber in I Want to Live in 1958 that the movies would have a similar scene. And, in the case of that film, that powerful scene clearly gained audience sympathy for a woman who had to experience it, just as it would have for Neff in Double Indemnity.

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Fred, I never saw the Lee J. Cobb version of "Double Indemnity". So I do not have the contrast of the two approaches. But you make a good point how important the Edward G. Robinson character was to the viewer. And how well the Edward G. Robinson character pulled the viewer into another approach to view what is unfolding on the screen.

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Tom, I Want to Live is a very good film, very powerful. In fact, it's so powerful that I cannot bear to watch it. I identify so much with Susan Hayward in this, not because I've led a life similar to her character's, but because she does such a great job, and because anyone can identify with the horror of facing the gas chamber.

I simply cannot stand to see what happens to her in this film. It's one of a number of movies which are excellent, yet which I will never watch because there is something in them so terrible that I can't bear to see it again.

Don't get me wrong, I can and do happily watch many films where something bad happens, or people die, or it's just very sad. But I Want to Live falls into that category of movie, along with a few others (not all of them about a death sentence) that upsets me too much to want to see it again.

 

Guess it's a testiment to how really effective some movies are.

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Quite possibly, Tom, although I love the film.

 

Seems to me I had heard something about that alternative ending. I remember thinking how much better it was that Walter dies almost literally in Keyes' arms, instead of living and being tried and sentenced to execution.

See, that's what I meant about how I can "handle" disturbing things in films, like the death of the protagonist (yeah, I know, he had to die), but balk at how that protagonist dies. I'm fine with Walter gasping out his last breath in the privacy of the closed insurance office at night, after confessing his whole story to Keyes. I don't mind that he dies, I expect him to die.

But you're right, the awful solemnity and agonizing pre-meditation of the gas chamber, and having to see Neff's life ended that way, is somehow far worse for me.

 

In fact, now that I think about it, I always want a character, good or bad,(and usually grey, like Walter Neff), if they have to die because they've committed a murder (or two or three), I want them to get shot by the cops, or by their lover, or their enemy - and die that way. If it were me, I know I'd far rather have my life end like that than in a death chamber, gas, electrocution, hanging , whatever.

 

I say, Shoot me and make a clean end of it.

 

 

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You really said this perfectly, Miss W. At least, you echoed my feelings about *I Want to Live* . I was very young when I first saw the film, probably too young, and it's always been a film that I just can't watch. Too painful. Susan Hayward gave an unbelieveably Brilliant performance.

Yes, I'm so grateful Tom that *Double Indemnity* didn't have that original ending. It would have ruined all the pleasure I've had from multiple viewings of this brilliant film, since I would have avoided watching it just like *I Want to Live* .

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>It wouldn't be until Susan Hayward faced that same coldly efficient gas chamber in I Want to Live in 1958 that the movies would have a similar scene. And, in the case of that film, that powerful scene clearly gained audience sympathy for a woman who had to experience it, just as it would have for Neff in Double Indemnity.

 

Clearly, it did not gain enough sympathy, because the death penalty still exists in the United States. Personally, I think I WANT TO LIVE is a very manipulative piece of propaganda. I am not necessarily an advocate for or against capital punishment, but I think the film, despite La Hayward's bravura performance, is too didactic for a viewer to extract any amount of entertainment or enjoyment from it.

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Miss W and lavender, the very anxiety that you ladies have expressed about that execution chamber scene in Double Indemnity is undoubtedly precisely why Billy Wilder and Paramount producers probably feared would be a general audience reaction to it, making the film less commercial.

 

Still, as film buffs, I suspect that most of us would love to see a restoration of the scene (at least, I would) to judge it on its own.

 

*MissW wrote:* *In fact, now that I think about it, I always want a character, good or bad,(and usually grey, like Walter Neff), if they have to die because they've committed a murder (or two or three), I want them to get shot by the cops, or by their lover, or their enemy - and die that way.*

 

I agree. For me, one of the ultimate illustrations of that was when Cagney went out in a blaze of glory on top of that gas tank, with the cops all around him, in White Heat. In fact, at the end his character actually commits suicide by blowing the tankup himself, defiantly going out on his own terms, trying to take as many of the cops with him as he could. A total loon, but played with brilliant intensity by the actor and a sequence directed and edited with great bravura.

 

I guess the one exception to this general rule of not wanting the film's protagonist to go out in an execution scene, though, would be in another james Cagney movie - Angels with Dirty Faces. His walk to the electric chair and feigned (or not feigned, depending upon your viewpoint) cowardice is one of the most memorable and dramatically gripping moments of gangster films, don't ya think?

 

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!

Surrounded by the cops, laughing insanely to the heavens, and out in a blaze of glory (at least, to him): Cody Jarrett in White Heat

 

Sorry, Fred, I guess I've gotten a bit away from the topic of the great Edward G. Robinson on your thread.

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First off, I would say it's Eddie G's CHARACTER in the movie that's important. Many other actors probably could have handled the part and been good in it. But we're so USED to seeing Eddie in this role, we can't imagine anyone else. I mean, just because COBB fudged it up doesn't mean someone ELSE would have.

 

 

I didn't know about the gas chamber scene. I just assumed Neff died from his gunshot wound. At any rate, I think the audience was aware of what would happen to him regardless, and after some thought, I think the ending we finally see is just fine.

 

 

Sorry Babs fans, but I wouldn't risk that fate for Stanwyck. BARBIE BENTON, maybe. But BABS?

 

 

The other real tragedy in this film is that MacMurray had to put himself in the position of being Robinson's intellectual adversary, rather than just remain good friends. That friendship was destroyed once MacMurray had to try to pull the wool over Eddie's eyes. Robinson's character had a true affection for Fred's character, and he superbly showed his dissapointment and dismay at the turn of events. That, perhaps, was the saddest part of the film. Showing the execution wouldn't have been as sad, I think.

 

 

Not to seem too indelicate, but MacMurray's character proves the truth in the old Yiddish saying, "When the putz gets hard, the brain gets SOFT!"

 

 

Sepiatone

 

 

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