Double Indemnity

Watch the Original with the same title from 1944! This made for TV movie, is just god-awful! Although it does use (as far as I can tell) almost the same dialog, it just doesn't work! Is it the acting, the poor directing? OK so it's made for TV, but why watch a bad copy, when you can get your hands on the superb original? Especially as you'll be spoiled to the plot and won't enjoy the original as much, as if you've watched it first!

There are a few things that are different from the original (it's shorter for once), but all are for the worse! The actors playing the parts here, just don't fit the bill! You just don't believe them and who could top Edward G. Robinsons performance from the original? If you want, only watch it after you've seen the original and even then you'll be very brave, if you watch it through! It's almost sacrilege!

Los Angeles insurance salesman in his late 30s is seduced by the wife of one of his clients, who gives him the idea of taking out an accident insurance policy on her husband without his knowledge. If he's killed, the wife receives $200,000--if he's killed on a train, the amount is doubled. Writer Steven Bochco had the daunting task of compressing James M. Cain's crime novel into a 75-minute movie for television. Bochco must have known how unnecessary the whole idea was, especially since no amount of effort could even hope to get the project out from the shadow of Billy Wilder's classic 1944 version. The three leads (Richard Crenna and Samantha Eggar as the illicit lovers, Lee J. Cobb as Crenna's boss) go through the motions dutifully, but nothing here feels fresh.

Jack Smight directed this TV remake of the original 1944 film, based on James M. Cain's novel, that stars Richard Crenna as Walter Naff, an insurance salesman seduced by a client's wife named Phyllis Dietrichson(played by Samantha Eggar) to murder her husband for the insurance money, with the double indemnity clause giving them twice the payout, though Walter's boss Barton Keyes(played by Lee J. Cobb) is suspicious of Phyllis, convinced she murdered her husband with the help of another man, not knowing that it's Walter... Needless and ineffectual remake still has a good cast and story, but no atmosphere or point at all.

When Samantha Eggar (as Phyllis Dietrickson) answers the door of her house swathed in a towel, you realize that as competent an actress as Eggar may be, she doesn't have the hypnotic allure of Barbara Stanwyck. And it is not entirely Eggar's fault. In the original film, Wilder had Stanwyck not only appear in a towel, but she enters the scene on the second floor balcony of the house. And she doesn't "come out"; she appears, almost as if by magic. Walter Neff is staring up at her from below on the first floor. There is a reason for this. Stanwyck is much higher than Neff (Fred MacMurray) when they are first introduced. It is not just the towel. The towel adds to the seductive allure. Her pose is like a Greek Goddess overlooking her domain, and, in a strange way, you feel as if, from the start, she is actually controlling the entire situation. She has sexual, even magic, power. This person is no ordinary housewife. This person is a mystery with secrets hidden within.

Back to 1973. The remake has Crenna knock on the front door. Stanwyck's stand-in, Eggar, answers the door with a towel around her. There is no "appearance". She simply opens the door. The alluring superiority that grabs the audience at the first appearance of Stanwyck in 1944 is entirely absent in 1973. She opens the door with a towel around her. It may be sexy in a Charlie's Angels sort of way, but it's not nearly as mysterious. The filmmakers of the remake seem to misunderstand Wilder's point. The script may have said "Phyllis appears in towel" so the filmmakers of the remake simply follow the instructions and include the required towel. The point is not the towel. The point is the enigmatic quality of Phyllis, and the potential power she wields. Wilder gave her a towel to add to her mystique. The filmmakers of the remake gave her a towel because that's what Wilder did. And in the choice of shot, lost all of Phyllis' mystique.

Richard Crenna also seems miscast. He seems like he's "acting" and not really in the midst of the dilemma. Part of the problem is Crenna appears so much like a 70's actor. He can't get into the 1940's. When MacMurray first speaks into the microphone, sweat begins to drip from his face. No sweat on Crenna. And they also changed one of the crucial lines at the beginning. In the original, Neff says, "I didn't get the money, and I didn't get the woman." In the 1973 version, Crenna says, "I didn't get the money, and I didn't want the woman." Did the filmmakers completely misunderstand the entire point of the story? Or were they dumbing it down for a "television" audience?

This made-for-TV movie is a by-the-numbers rendition. All the sharp edge of the original is lost. The only stand-out, maybe, is Lee J. Cobb in the role made famous by Edward G. Robinson. But he cannot save the loss of intensity of the original. This 1973 boring remake is a forgettable TV-movie made probably by the same people who did "Gilligan's Island". They might as well have tried to remake "Citizen Kane" or "Gone with the Wind". If mediocrity is the best one can hope for, what's the point? The 1944 classic is a Film with a capital "F". This made-for-TV remake deserves an "F" grade, or, maybe a "D" for dumb.

As a big fan of the original film, it's hard to watch this show. The garish set decor and harshly lighted sets rob any style from this remake. The mood is never there. Instead, it has the look and feel of so many television movies of the Seventies. Crenna is not a bad choice as Walter Neff, but his snappy wardrobe and "swank" apartment don't fit the mood of the original, or make him an interesting character.He does his best to make it work but Samantha Egger is a really bad choice. The English accent and California looks can't hold a candle to Barbara Stanwick's velvet voice and sex appeal. Lee J.Cobb tries mightily to fashion Barton Keyes,but even his performance is just gruff, without style.

It feels like the TV movie it was and again reminds me of what a remarkable film the original still is.