Double Indemnity, by James M. Cain
New York,
NY: Vintage Books, 1978
Originally
published in serial form in 1936
List of
main characters:
Walter
Huff, insurance salesman for General Fidelity of California
Phyllis
Nirdlinger
Lola
Nirdlinger, Phyllis’s stepdaughter
Beniamino
“Nino” Sachetti, Lola’s boyfriend
Keyes, head of the Claim Department at General
Fidelity of California
Old Man
Norton, founder of General Fidelity of California
The image
above is of the back and front covers of the version, published in 1978, that I
read. All page references are from the 1978 edition.
My sister cannot
believe that I call myself a fan of noir and I have never seen the film version
of Double Indemnity in its entirety.
(Until a few months ago, I hadn’t seen any of it at all!) I find it a little
hard to believe myself, and I’m not sure why I balk at finally seeing it from
beginning to end. I often like to say that I prefer the book to the film and that
I want to read the book before I see the film version. But now I have no excuse:
I have read James M. Cain’s book, and the film has to be added to the queue,
right? With all that I have heard about the film starring Fred MacMurray and
Barbara Stanwyck, I imagine it will be just as good as the book.
Walter Huff is an
insurance salesman for General Fidelity of California, and he uses his
knowledge of the insurance industry to try to game it. He knows about double
indemnity; it fits into his scheme to make money via murder. He meets Phyllis
Nirdlinger by chance one day, while he’s out visiting clients and potential
clients. One of those clients is Phyllis’s husband, but Huff notices Phyllis
right away at the Nirdlingers’ home, and he is unwittingly drawn into her web,
not the other way around. Huff begins to have an idea that he is in deep, but
he can’t seem to pull away:
I live in
a bungalow in the Los Feliz hills. . . . It was raining that night, so I didn’t
go out. I lit a fire and sat there, trying to figure out where I was at. I knew
where I was at, of course. I was standing right on the deep end, looking over
the edge, and I kept telling myself to get out of there, and get quick, and
never come back. But that was what I kept telling myself. What I was doing was
peeping over that edge, and all the time I was trying to pull away from it,
there was something in me that kept edging a little closer, trying to get a
better look. (page 18)
Fate, it seems, is
drawing Walter in; his attraction to Phyllis Nirdlinger, the femme fatale of
the story, helps keep him trapped.
(This blog post about
the novel Double Indemnity contains
spoilers.)
Walter is given
another chance to see what he is getting into, and the clue comes from Phyllis
herself. She seems a little more unhinged than might be expected of a cold and
calculating wife when she and Walter have the following conversation, before the murder of Phyllis’s husband:
“He’s [Mr. Nirdlinger] not happy. He’ll be better
off—dead.”
“Yeah?”
“That’s not true, is it?”
“Not from where he sits, I don’t think.”
“I know it’s not true. I tell myself it’s not true.
But there’s something in me, I don’t know what. Maybe I’m crazy. But there’s
something in me that loves Death. I think of myself as Death, sometimes. In a
scarlet shroud, floating through the night. I’m so beautiful, then. And sad. And hungry to make the whole world
happy, by taking them out where I am, into the night, away from all trouble,
all unhappiness. . . . [ellipsis points in the original] Walter, this is the
awful part. I know this is terrible. I tell myself
it’s terrible. But to me, it doesn’t seem
terrible. It seems as though I’m doing something that’s really best for him, if
he only knew it. Do you understand me, Walter?”
“No.”
“Nobody could.”
“But we’re going to do it.”
“Yes, we’re doing [sic] to do it.”
“Straight down the line.”
“Straight down the line.” (pages 23–24)
“Straight down the line.” (pages 23–24)
But Walter Huff is no
match for his partner in crime, Phyllis Nirdlinger. And he’s definitely no
match for Keyes, the head of the Claim Department at General Fidelity of
California. Phyllis’s words, highlighted in purple above, are echoed by Keyes
when he describes how he’s going to help Huff leave the country. By this point,
Huff has confessed his crime to Keyes, who is no fool. He knows that the
protracted media coverage of a murder trial for a salesman at General Fidelity
will be very bad publicity. So he concocts his own plan to get rid of Walter
Huff and Phyllis Nirdlinger, too. Keyes arranges passage for Huff on a steamer
heading south, and he even gets Huff to agree to write out a statement
detailing his part in all the events leading up to his being shot by Phyllis and
then hospitalized. Walter isn’t even aware of Keyes’s ulterior motives right
away:
“O. K. on the statement, Keyes.”
“It’s the best way.”
“O. K. on everything. Thanks.”
“Don’t thank me.”
“I feel that way.”
“You’ve got no reason to thank me.” A funny look came
in his eyes. “I don’t think they’re going to catch
up with you, Huff. I think—well maybe I’m doing you a favor at that. Maybe
you’d rather have it that way.” (page 122)
Huff has heard
similar words, a similar warning, once before, but he doesn’t catch on until
he’s on the steamer heading past Mexico:
What
you’ve just read, if you’ve read it, is the statement. It took me five days to
write it, but at last, on Thursday afternoon, I got it done. That was
yesterday. I sent it out by the orderly to be registered, and around five
o’clock Keyes dropped by for the receipt. It’ll be more than he bargained for,
but I wanted to put it all down. Maybe she’ll [Lola Nirdlinger] see it some
time, and not think so bad of me after she understands how it all was. Around
seven o’clock I put on my clothes. I was weak, but I could walk. After a bite
to eat I sent for a taxi and went down to the pier. I went to bed right away,
and stayed there till early this afternoon. Then I couldn’t stand it any
longer, alone there in the stateroom, and went up on deck. I found my chair and
sat there looking at the coast of Mexico, where we were going past it. But I
had a funny feeling I wasn’t going anywhere. I kept thinking about Keyes, and
the look he had in his eye that day, and what he meant by what he said. Then,
all of a sudden, I found out. I heard a little gasp beside me. Before I even
looked I knew who it was. I turned to the next chair. It was Phyllis. (pages
122–123)
After Walter Huff
starts plotting a murder with Phyllis and before he writes his confession
statement for Keyes, he meets Phyllis’s stepdaughter, Lola. Before too long, he
decides that he is in love with Lola, not Phyllis. (Cain pursued a similar
theme—a lover switching his affections from mother to daughter—in Mildred Pierce.) This change in his
affections doesn’t change his murder plans; it just complicates them a bit. He
starts to feel guilty—but not too guilty—about killing Lola’s father.
Click here to
see my post about Mildred Pierce,
starring Joan Crawford. Click here to see my post about Cain’s book and the
television series based on it.
Walter Huff is
clueless, right until the end: about Keyes, about Phyllis, and about Lola
Nirdlinger. It’s hard to believe that Lola would understand his story and why
he did what he did. But he seems convinced that Lola will see his point of
view.
I've read The Postman Always Rings Twice and Mildred Pierce but not this one. Interesting to note how the film adaptations diverge from Cain's novels. I'll have to read Double Indemnity now, don't know how I missed it.
ReplyDeleteI'm going to give this a go, too. Like you said, Lady Eve, it's always interesting to compare the film version to the book. I'm not a huge fan of Cain's books, but your review has me curious to read the original story.
DeleteThe ending of the original story is much darker than the ending in the film. But that probably won't come as a surprise to classic film fans: the production code prevented criminals from getting away with their crimes in most cases. The book is good read. Short, too.
ReplyDelete