Double Indemnity performance analysis

With reference to a sequence from a film between 1930-1961, analyse how performance is used to create meaning [10 marks]

- Double Indemnity

Billy Wilder's 1944 film noir 'Double Indemnity' establishes the narrative relationship between femme fatale Phyllis and protagonist Neff in their first meeting through their stylised, though understated, performances. The discourse around film noir's misogyny is evidenced as Neff employs assertive body language, a direct tone of voice, and patronising demeanour towards Phyllis' maid as he pushes against her in the doorway, his expressions contrasted in a smile and respectful gesture of removing his hat (connoting he is also heating up as a code of attraction) once he sees Phyllis stood behind the bannister. She performs acts of maidenliness, constructing innocence and modesty as she stands under a towel, moving her body language away from Neff and reverting his gaze to purposely obscure her sexuality. His gaze is intent as his eyes travel up and down her body, their eye contact unbroken.

When Phyllis comes down the stairs, she buttons her blouse, consciously drawing attention to her breasts, this subtext of sexuality furthered as she applies lipstick in the mirror. Neff brings their proximity closer, his gaze doubled on Phyllis in person and reflection, Phyllis being made an object of looking under the male gaze - a theory coined by Laura Mulvey. Phyllis sits leaning away from Neff tilted towards her sat down, her action of pushing her anklet as a code of available sexuality to Neff's attention furthering her maidenly advances in making him attracted to her. Because this is from Neff's perspective, the spectator is seduced by Phyllis as Neff is, making his willingness to commit murder for her more plausible in the narrative: showing how this introductory meeting is crucial in constructing their relationship. They use sexual innuendoes as they are placed together, the repetition of 'suppose' in their hard-boiled noirish dialogue creating a subtext of sexuality, limited from the Hays Code.