August 28, 1994 |
Billy Wilder's gratifying film noir classic from Raymond Chandler's adaptation of the James M. Cain novel leaves an impression that's indelible, no matter how long it's been since you've seen it. How could you ever forget Barbara Stanwyck's hard-as-nails bottle blonde who teams up with insurance salesman Fred MacMuray (pictured) to get rid of Stanwyck's much older husband (Edward G. Robinson)? Wilder also made wonderful use of L.A. locations. (AMC Tuesday at 2 p.m., again at 8 p.m.
July 23, 2012 |
Thanks to the miracle of DVR, my wife Rae and I spent the other night watching “Double Indemnity,” a film we hadn't seen in years. Directed by Billy Wilder, with a script by Wilder and Raymond Chandler and based on a novel by James M. Cain, it is a movie with an almost perfect noir pedigree. More than this, though, it is a classic story, one that speaks to both its moment (the book was written in the 1930s) and to ours. As Joan Didion writes in her essay “Some Dreamers of the Golden Dream” : “This is the country in which a belief in the literal interpretation of Genesis has slipped imperceptibly into a belief in the literal interpretation of 'Double Indemnity.'" That's a great line, vintage Didion, and it highlights what she does so often in her writing: to stretch the particular until it seems universal, as well.
June 20, 2013 |
Customized TV Listings are available here: www.latimes.com/tvtimes Click here to download TV listings for the week of June 23 - 29, 2013 in PDF format This week's TV Movies SERIES Dancing Fools A grandmother from Mobile, Ala., goes up against a crew from Scottsdale, Ariz., in this new episode. 7 p.m. ABC Family XIII Our hero (Stuart Townsend) tries to stop an attack on the United States in this new episode. 7 and 9 p.m. Reelz You Live in What?
July 28, 1990
Officials of National Health Care Systems Inc., responding to the state's forbidding its Denticare of California subsidiary from selling indemnity medical insurance or enrolling new members in its health maintenance organization, said this week's state action is unjustified and may be unenforceable.
September 16, 1993 |
"Double Indemnity" begins with a confession. Fred MacMurray, playing insurance agent-turned-murderer Walter Neff, puts a low fire under the pot with this: "Yes, I killed him. For money. For a woman. I didn't get the money and I didn't get the woman. Pretty, isn't it?" From there, we're off, watching Neff crawl to self-destruction. The movie is smoky, dank and nasty . . . it's also a masterpiece of sorts, killer-cold film noir.
CALIFORNIA | LOCAL
February 26, 1988 |
First Jim Bakker. Now Jimmy Swaggart. In both cases the immediate reaction in mainstream America had a tone of delight in seeing the self-righteous exposed as sinners. In Los Angeles, meanwhile, there was news of a darker sort--allegations that a visiting priest from Mexico had molested at least 18 altar boys. Disparate as these situations are, they are linked in our perception of the clergy as being a cut above human frailty. Religion and human failure have always been intertwined.
May 5, 2010 |
The iconic 1944 film noir "Double Indemnity" was memorable for many things: Barbara Stanwyck and Fred MacMurray 's murderous lovers, Billy Wilder 's sly and menacing direction and this tasty, sexy exchange between Walter Neff (MacMurray) and Phyllis (Stanwyck), penned by Wilder and the great mystery novelist Raymond Chandler, who adopted it from James M. Cain's pulp fiction. Walter: "You'll be here too?" Phyllis: "I guess so, I usually am." Walter: "Same chair, same perfume, same anklet?"
August 12, 2008 |
American museums have caught a break on the insurance premiums they must pay when they borrow hugely valuable artworks for public display. California museums in particular could benefit from an expanded federal insurance program, to be administered by the National Endowment for the Arts, because the coverage will include earthquake premiums that can be far more costly than those for loss and theft.
July 11, 2007 |
I DON'T KNOW if "Harry Potter and the Order of the Phoenix" is a good movie or not -- I haven't seen it. But I'm pretty certain that it shouldn't be judged as a movie at all. It is a visual representation of a book in which millions of people are already heavily, even cultishly, invested. When we see it, we are taking part in a ritual that addresses the old, and to me irrelevant, question of whether a film is "faithful" to its source -- in this case, the fifth novel in J.K.