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Try it outGROSS: Yeah, that's how a lot of men in film noir end up. NET IDE with a refreshed, fully native macOS UI. I didn't get the money, and I didn't get the woman.Visual Studio 2022 for Mac Preview 1 is now available This is the first public release of our. I killed him for money and for a woman. FRED MACMURRAY: (As Walter Neff) Yes, I killed him.He's the founder and president of the Film Noir Foundation, which has restored and preserved more than 30 nearly lost classics in partnership with the UCLA Film and Television Archive.Some of the great film noirs were set in the world of boxing, a world Muller was well acquainted with through his father, also named Eddie Muller, who was considered the West Coast dean of boxing writers and covered boxing for the San Francisco Examiner for over 50 years. He's the author of a book about the women who starred in these films. His book "Dark City: The Lost World Of Film Noir," was just published in a new expanded edition. Even if you don't have time to watch the film, his intros are worth tuning in for.Muller has impeccable noir credentials. "Double Indemnity" is one of the films we're going to talk about today with Eddie Muller, who you may know as the host of the Turner Classic Movies show "Noir Alley," where each Saturday night, he screens a film noir. What they do often get is double crossed and killed.
![]() Visual Studio Warnings Go Away Code And CouldThe man's not home, but Barbara Stanwyck appears at the top of the stairs in a bath towel. And this one also is from "Double Indemnity." So just to set it up, Walter Neff, played by Fred MacMurray, is an insurance salesman who goes to, like, a wealthy man's home to remind the man to renew his insurance. And that required a certain amount of restraint by the artists making these films, which is, I think, one of the great pleasures of the movies - is how the artists worked around the code and could be suggestive and therefore very sensual when they're making these pictures.GROSS: Well, let's hear another clip. Yeah, I think that's one of the reasons the films remain so popular - is because they're very sexy in a way that films aren't sexy today because they were made, you know, during the existence of the production code. But man, it sure is fun watching people fail.GROSS: And as you've pointed out, most film noir combines, like, the sinister and the sensual.MULLER: Absolutely.![]() Neff, why don't you drop by tomorrow evening around 8:30? He'll be in then.STANWYCK: (As Phyllis Dietrichson) My husband. Barbara Stanwyck starts first.BARBARA STANWYCK: (As Phyllis Dietrichson) Mr. Like, he's done.GROSS: So she puts on some clothes, comes downstairs, and then they talk. Can you elaborate on that?MULLER: Sure. And it's a perfect example of what makes these films so special because you can't really show anything, but you can certainly sling the double entendres as fast and furiously (laughter) as you can.GROSS: You write that "Double Indemnity" was the first time a Hollywood film explicitly explored the means, motives and opportunity of committing murder. Cain, "Double Indemnity." That one was just for the film. That is a passage that is not in the book by James M. Neff, 45 miles an hour.MACMURRAY: (As Walter Neff) How fast was I going, Officer?STANWYCK: (As Phyllis Dietrichson) I'd say around 90.MACMURRAY: (As Walter Neff) Suppose you get down off your motorcycle and give me a ticket.STANWYCK: (As Phyllis Dietrichson) Suppose I let you off with a warning this time.MACMURRAY: (As Walter Neff) Suppose it doesn't take.STANWYCK: (As Phyllis Dietrichson) Suppose I have to whack you over the knuckles.MACMURRAY: (As Walter Neff) Suppose I bust out crying and put my head on your shoulder.STANWYCK: (As Phyllis Dietrichson) Suppose you try putting it on my husband's shoulder.MACMURRAY: (As Walter Neff) That tears it.GROSS: Another hallmark of film noir is, like, great dialogue.MULLER: Yes, you can't do much better than that, and that's Billy Wilder and Raymond Chandler working together to to write that. But I'm sort of getting over the idea, if you know what I mean.STANWYCK: (As Phyllis Dietrichson) There's a speed limit in this state, Mr. And that's really what "Double Indemnity" did that kicked off the film noir movement.There were other films that you can call film noir before "Double Indemnity," but its popularity and being nominated for Oscars and the fact that Barbara Stanwyck, who at that point was the highest-paid woman in America, starred in this film gave it, you know, this imprimatur, if you will, that it's OK now to do this kind of stuff.And Stanwyck was a bit afraid, honestly. And it was very difficult because of the production code to make movies in which the protagonists were the villains of the piece. And the transition to the movie screen didn't really happen for another 10 years or so. Cain and Chandler and others. And she came right on board and gave it her allGROSS: Film noir gave great roles to women in the sense that, you know, there were beautiful, but they were as tough-talking as the men, and they often led the men into crimes that would, of course, backfire. And that was all she had to hear. I thought you were an actress. And Billy Wilder said, you know, oh, that's funny. ![]() When it's all said and done, I'll go away with you. But you're never quite sure to believe her or not when she says that, yeah, I'm in with you. And then to win her back, there's - you know, there's a whole crime plot and the robbery of an armored car and all this. She's now in thrall to this shady character played by Dan Duryea. But, of course, he can't get her out of his system, so he returns to Los Angeles. And he has left, and we are meant to imagine that he's like, traveled around the world. Focuriste plugins mac torrentWhat do you want me to do? Let him get us both? Would that make you feel happier? Does that make sense to you?LANCASTER: (As Steve) No, that'd be more.DE CARLO: (As Anna) Why did you have to come here in the first place? Why? Why? It was all working out. Don't you understand you need help, doctors? You could never make it. And then as we enter the scene, Yvonne De Carlo is packing up the money, getting ready to leave without him because he's very vulnerable, having just come out of the hospital.BURT LANCASTER: (As Steve) You're going away? You're going to leave me - here?YVONNE DE CARLO: (As Anna) How far could I get with you? What kind of a chance would we have? You can't move. But Lancaster pays off this guy to just take him to the beach house so he could reunite with Yvonne De Carlo. And that's what Yvonne De Carlo does so beautifully in this scene.GROSS: So just to set up the scene, Burt Lancaster was just basically taken out of the hospital against his will by one of the henchmen of the guys who double-crossed him. And I find this scene so compelling because, for once, the woman really gets to express what she thinks about the whole setup.
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