“Neffarious From the Start” by Gillian

Gillian Hughes

“Neffarious From the Start”

            “There’s a speed limit in this state, Mr. Neff. Forty-five miles an hour.”

            “How fast was I going, officer?”

            “I’d say about ninety.”

            This dialogue comes from the classic noir film Double Indemnity directed by Billy Wilder. In one of the most memorable moments in the movie, Walter Neff, the main character, meets Phyllis Dietrichson, the femme fatale, for the first time. In this scene, after their initial encounter in the Dietrichson’s foyer, Neff and Phyllis have a conversation that begins as a discussion over insurance, but quickly progresses to an entertaining banter filled with many innuendos, as seen in the opening to this essay. Phyllis pretends to be coy, though we know all along her intention was to seduce Neff. The physical attraction between the two is impossible to miss, and sets the tone for the rest of the film. For Neff, the case can be made that it was love at first sight. It is in this first scene, during the characters’ repartee, that the viewers can see Neff has already been ensnared by the seductive femme fatale.

            Many critics of the film would argue that Neff is not corrupted by Phyllis until their second encounter when, instead of turning down her obvious offer to assist her in committing the perfect crime, he kisses her. However, I would argue that Neff was corrupt before meeting Phyllis; he simply needed the nudge of someone like her to encourage him to act on his intrinsic desire to fight the institutions that he believes are taking advantage of him and others like him. Therefore, in this scene of their first meeting, Neff’s corruption can be seen in his dialogue with Phyllis.  

The mis en scène sets the tone for the main character’s relationship. With an over the shoulder shot, the scene begins as Phyllis appears upstairs behind the bars of a staircase railing. She is wearing only a towel, and Walter, standing below her in the foyer, must crane his neck to talk to her. Because the scene is shot over Neff’s shoulder, the viewer feels that they are observing the action take place: a third-party witness uninvolved in the action. Perhaps the scene is shot this way to emphasize that Neff is looking back on these events, watching his life unfold.

The fact that Phyllis is standing above Neff in their very first encounter foreshadows her powerful role in the film, and emphasizes her authority over Neff. From her vantage point, she is able to see much more than Neff. Like important figures speaking on a raised stage, Phyllis is elevated to a place of dominance by her location in the first scene; this alerts the viewer to the prevailing role she plays.

The audience’s eye is naturally drawn to Phyllis in the first shot: she is the dominant figure. Contrasting with her dimly lit surroundings, Phyllis is wrapped in a white towel and illuminated from behind. This produces the glamorous effect, often employed by cameramen of this era, of casting Phyllis in the most flattering light possible, and gives her the appearance of having a halo. The angelic image is ironic since Phyllis is plotting the murder of her own husband.

The key part of the scene takes place after Phyllis has changed into clothes and joined Neff in the living room. The living room scene is shot with natural lighting that comes through the partially drawn blinds. This causes odd, lined shadows to be cast throughout the room, and adds to the shadowy, low-key lighting that is typical of noir films. It lends to Neff and Phyllis’ exchange in that important aspects of their conversation are not illuminated. Just as part of the room is cast in shadow, part of their conversation is hidden behind innuendos.

 The scene begins with Neff perched on the arm of a chair and Phyllis sitting daintily across from him with her legs crossed. While seated, the two discuss insurance and other mundane matters, such as when Mr. Dietrichson will next be available. However, when the conversation becomes flirtatious, the two stand up, and again the cut is shot over the shoulder of Neff. This puts the focus on Phyllis, and gives the viewer a feeling that they are intruding on a private conversation.

With the hindsight gained from watching the entire movie, this scene allows the viewer to look back on the film and realize that it is the moment when Neff’s inherently corrupt nature is revealed. During his conversation with Phyllis, she hints at what Neff immediately realizes to be a plot to kill her husband. However, instead of leaving immediately or expressing utter horror at the notion, he plays it off and continues to flirt with her. In addition to this, Neff knows that Phyllis is a married woman- he called on the Dietrichson’s house with the intention of talking to Mr. Dietrichson- yet despite this knowledge, he continues to blatantly flirt with her. This again points to his innate corruption.

This scene is vital because through the mis en scène and the dialogue between the two, Neff’s corrupted nature can be seen. The elements of the film: over-the shoulder shots, low key lighting, and high angle shots contribute to the understanding of the film as a whole. At first glance, this scene may simply appear to be the first meeting between Neff and Phyllis; the beginning of the end. However, on closer analyzation, the scene can be appreciated as fundamental to the understanding of the entire film. The story could not have taken place without their meeting, but, more importantly, the specific circumstances of this scene enabled the reader to grasp the subtle nuances of the film that would otherwise not be present until much later.