“You Can Do Better Than That, Can't You Baby” by Shafrarisi

By: Shafrarisi Bonner

Wilder’s film, Double Indemnity, is a prime example of a hardboiled drama. Unlike the rest of films we have observed such as, Out of the Past, The Maltese Falcon, and Laura, Double Indemnity dished out something completely different in the terms of the femme fatale. Phyllis, the wife of Mr. Dietrichson, was the perfect example of the femme fatale incognito. She was a threat to others, but a very unknown threat. This is a very unlikely trait for a femme fatale, I have witnessed, to have. Phyllis defines the femme fatale of her time period through her reliance on beauty, innocence, and her cliche ‘forbidden’ love. This aspect changes the way in which scenes are visually constructed, designed, and presented. Unlike other femme fatales she does not show any dominance, but weakness which leads to her death. An example of this can be seen through the “Goodbye Baby” scene where Neff kills Phyllis.

Throughout this scene, Wilder (the director of the film), stressed the importance of intensity with his use of shadows. The scene is set in a light furnished room immediately drawing the audience’s attention to Neff and Phyllis. The director takes advantage of this by using a high contrast to low key lighting techniques. Wilder’s use of this shift shows the frustration of the conversation between Phyllis and Neff. He even shoots Phyllis with heavy shadows, but highlights her white dress and eyes which are filled with emotions. This gives Phyllis an image of innocence, purity, and displays her actions as genuine remorse. Unlike Phyllis, the other women in femme fatale noir history show similar remorse but immediately shifts to a mood of great satisfaction. Phyllis shows no trap in her reactions, being completely vulnerable. Other femme fatales would not make this move. She showed emotion and weakness, even telling Neff that she loves him and couldn’t picture her life without him. This supports my claim that Phyllis defies the stereotype of the ‘cliche’ femme fatale. She is innocent and portrays a classy and elegant front, never being daring in the way she looks or acts around Neff.

In the presence of Neff in the “Goodbye Baby” scene, Phyllis is childlike. To develop this scene more the director incorporates various angles in close-ups and medium shots. This did an excellent job at building intensity within the scene. The long shot displayed the distance between the two characters after Phyllis attempted to shoot Neff. It held feelings of distrust and showed a rift between the pair, as well as the confrontation that will happen. As the pair moves closer, the director shifts to medium shots with a long angle, which allows the audience to see the weakened position of Phyllis. To fully display this defeat, the director then uses a close up while continuing to use the high angle technique. High key lighting is used to fully show the emotions of Phyllis. It also shows the dominance that Neff had over Phyllis as she cried into his shoulder. This technique and close stances makes it known that this is Phyllis’s moment of vulnerability. By confessing her love to Neff in this moment and allowing him to see her authentically, is what separates Phyllis from the traditional femme fatale. Neff uses this moment of vulnerability to his advantage. As the pair pauses in brief silence, the director uses the technique of foreshadowing. Out of nowhere, shots are fired and time stands still. Phyllis was the first to die, which is highly uncommon.

As Phyllis’s body lies limp in the arms of Walter Neff, the director fills the room with shadows. He uses the long shot and low key lighting technique. By using this the director, sets the mood of death, sadness, and an emptiness which is similar to the lack decoration in the room. As Phyllis’s body drops, the director moves from high angles to eye level. Neff lies Phyllis’s body onto the sofa with no emotion in his eyes, showing his power. This is fully demonstrated as we are able to see his movements through tracking. He leaves Phyllis’s body without a finally look or goodbye. Neff picks up the gun and leaves, covering his tracks. Phyllis’s body lies there in the dusk, leaving her and Neff’s hopes of a life together impossible. Phyllis death proves of her lack of dominance. She easily gave into Neff and posed no challenge. This gave Neff power and dominance.

The power dynamic in their relationship proved many things. It proved that Phyllis was not as ‘hardboiled’ as the femme fatales I have examined. She used her innocence to her advantage, however that same innocence, in a sense, was all that Phyllis knew. Also unlike the others, Phyllis genuinely loved and was always deeply affected by Neff’s anger. It made her upset, emotional, and in some way scared. In this scene, she grew so attached to Neff that it seemed like she had a fear of being without him. This love and dependence made her weak when she attempted to kill Neff, which caused distress and distrust. Phyllis gave into Neff, already showing defeat, the sin of the femme fatale. She showed no power, no dominance, or no sense of ‘street smart’. In every thing Phyllis and Neff did, Neff held the cards. This was what made Phyllis’s death no surprise. She definitely defied the stereotype of the cliche femme fatale.