Double Indemnity, a film based on fraud and betrayal in regards to insurance money, carried out by Walter Neff and Phyllis Dietrichson. This film is a perfect classic example of film noir, as the film has various aspects of depicting characters in an ambiguous manner with the addition of dark shadows, moody aesthetics, intense music and mis-en-scene to express the shots well. In particular, the opening scene of Walter entering his apartment building to his room is divided into five simultaneous shots that display all of these cinematic (word). The very first shot filmed objectively at the eye level appears to be a medium long shot initially but then turns into a medium shot as the characters enter the elevator, and the frame getting closer
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Shadows of all the furniture and objects are constantly visible throughout the shot. As he walks in, the shot switches to a medium long shot with pan movement to towards right with very dark lighting and shadows. The room is lit with a lamp and from a low angle Walter transitions from a medium shot to a medium close shot within the frame. The director uses stylist traits along with German expressionism to display the character’s facial expression of anxiety, guilt and fear. The use of ominous music and low-key lighting in the scene, specifically the shadow of Walter’s hat on his face further elevates the suspense. In addition, the ciggerate being smoked by him appears to be symbolic to his status or a way for the director to show his relief of tension. Camera moving in a pan motion from right to left concurrently follows Walter for his phone call. A medium close shot with low key lighting on the characters face and the dark shadow behind within the frame maintains a close focus on the subject and his conversation. Lastly, to completely develop the shot to its true nature the background music is turned off and high breathing and facial expressions such as sweating are depicted to further enhance the suspense being over and truth being finally
Shadows of all the furniture and objects are constantly visible throughout the shot. As he walks in, the shot switches to a medium long shot with pan movement to towards right with very dark lighting and shadows. The room is lit with a lamp and from a low angle Walter transitions from a medium shot to a medium close shot within the frame. The director uses stylist traits along with German expressionism to display the character’s facial expression of anxiety, guilt and fear. The use of ominous music and low-key lighting in the scene, specifically the shadow of Walter’s hat on his face further elevates the suspense. In addition, the ciggerate being smoked by him appears to be symbolic to his status or a way for the director to show his relief of tension. Camera moving in a pan motion from right to left concurrently follows Walter for his phone call. A medium close shot with low key lighting on the characters face and the dark shadow behind within the frame maintains a close focus on the subject and his conversation. Lastly, to completely develop the shot to its true nature the background music is turned off and high breathing and facial expressions such as sweating are depicted to further enhance the suspense being over and truth being finally