Cain worked as a journalist in New York, and it was there that he stumbled upon the real-life murder case of Albert Snyder, who was killed in by his wife, Ruth Brown Snyder, and her lover, a corset salesman named Henry Judd Gray. When searching for a new collaborator, Wilder initially thought of hiring Cain, who was by then already working in Hollywood, but he was occupied at another studio. Eventually, the story made its way into the hands of then-fledgling director Billy Wilder , who saw something special in it. The PCA was concerned the details were too gruesome, and Wilder himself felt that it was ultimately unnecessary to the story. He wanted Barbara Stanwyck—then the highest-paid actress in Hollywood—to play the role of seductress and murderess Phyllis Dietrichson. I wanted the phoniness in the girl, bad taste, phony wig. He was a very, very good writer—but not of scripts. Before he began making serious headway as a writer of fiction, Double Indemnity author James M. I can't reshoot four weeks of stuff.
When searching for a new collaborator, Wilder initially thought of hiring Cain, who was by then already working in Hollywood, but he was occupied at another studio. After the project had weathered the Production Code and the laborious screenwriting process, Wilder hit even more snags when it came to casting. Wilder agreed to work with Chandler after reading some of his prose and finding the future author of The Long Goodbye had a knack for clever lines of dialogue and description. I wanted the phoniness in the girl, bad taste, phony wig. I can't reshoot four weeks of stuff. Though its journey to the screen was long, Double Indemnity was critically acclaimed upon release, and quickly developed a reputation as a classic. His first novel, 's The Postman Always Rings Twice, is about a man who falls in love with a beautiful woman and then helps her—unsuccessfully, at first—murder her older husband. Wilder did indeed respond well to the film, and took it on as what was, at the time, only his third Hollywood effort as a director after years of mostly screenwriting work. Chandler had never written a script, though, and according to Wilder the pulp legend did not understand that the screenwriting process was one that took several months. One executive at Paramount, after seeing some early footage, commented: He wanted Barbara Stanwyck—then the highest-paid actress in Hollywood—to play the role of seductress and murderess Phyllis Dietrichson. But it was too thick, we were not very clever about wig-making. As McCarey passed him, according to film noir historian Eddie Muller, Wilder stuck out his foot and tripped him, sending him sprawling in the aisle before he collected himself and went up to claim his trophy. Brackett declined to work on the film, though, citing the scandalous and amoral nature of its story as reasons for his reluctance to take it on. But when it finally got released in , film history was made. Stanwyck and MacMurray returned to their respective roles for a radio broadcast of the story in , and Double Indemnity was adapted for television twice, first by NBC in and then by ABC in Stanwyck was a serious, acclaimed actress with two Oscar nominations to her name already, but the idea of playing such a dark role was intimidating to her. Today it stands as an essential film for fans of Wilder, Stanwyck, and MacMurray, as well as a seminal piece of film noir. Fortunately it did not hurt the picture. Wilder appealed to her competitive nature, and asked , "Well, are you a mouse or an actress? But then I realized, look this thing is already over. The film is a masterpiece in the filmographies of Wilder and stars Barbara Stanwyck and Fred MacMurray, and is arguably the first true example of that classic Hollywood subgenre known as film noir. I've committed myself; the mistake was caught too late. Breen, who noted that a film version would likely be rejected according to the code. The story quickly made its way to Hollywood, where the strict moral guidelines of the Production Code placed it on the back burner.
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