How Does Wilder Convey the Characters Relationships in the Penultimate Scene of Double Indemnity?

How Does Wilder Convey the Characters Relationships in the Penultimate Scene of Double Indemnity?

Wilder uses many techniques to convey the two character’s relationship in the penultimate scene of Double Indemnity. The shot types used create intensity to the relationship; Wilder uses medium close-ups whilst Walter is confronting Phyllis. This shot allows the viewer to observe the character’s reactions, this creates tension, and shows that neither Walter nor Phyllis trust one another, as the camera is focussed on their expression. When Walter has his back turned on Phyllis we see Wilder use a point-of-view shot as Phyllis shoots Walter, again emphasising the deception that seems to lie in the relationship. The noddy-shot is also used to emphasise the surprise that Walter feels when he is shot, which then shifts to an over the shoulder shot as he walks towards Phyllis afterwards. At this point Wilder gives the impression that both characters are trying to silence the other and foreshadows Phyllis’s death as Walter walks towards her. The over the shoulder shot showing Walter closing in on Phyllis shows the recurring theme in Film Noir that the past catches up with the protagonist.

There is a contrast in this scene to the first time Walter and Phyllis meet in terms of shot composition. In this scene the two are positioned fairly far away from each other. The atmosphere isn’t intimate, whereas in the first meeting the two are placed close together. This shows the viewer a divide between the two characters, which has the effect of creating tension and also foreshadows a tragic ending between the two. Walter is always higher up than Phyllis in the shot angle; this shows he has more power in the relationship. Wilder uses a Dutch angle shot to portray Phyllis (this shows a perhaps psychological uneasiness), and low angle shots to portray Walter. This uneven power encounter also foreshadows the outcome of the scene. Phyllis at the start of the scene is in a seated position, this shows the audience that she is comfortable around Walter and feels she can manipulate him. Walter also takes his hat from the table at the end of the scene. This is put in by Wilder to show how natural the situation seemed for Walter. This shows how Walter’s feelings towards Phyllis have dramatically changed.

The framing of the scene also shows how distant the two have become. At the start of the scene there is a large chair in the corner from where Phyllis is seated, this is an indication of the intentions that Phyllis had. The chair is empty but she had intended for someone to be seated there. We also rarely see the two characters in the same shot together whilst talking. The viewer feels as though they are watching through the perspective of either Walter or Phyllis. This emphasises the idea that there is a divide between the two characters, as there is a visual wall between them. The next time they are in the same shot together is the build-up to Walter murdering Phyllis. However when we do see them in the same shot it adds to the theme that they have a shared past together, as Walter uses the example of a “trolley-cart”.

Film Noir is the style of the film and Wilder shows many characteristics of this style in the penultimate scene to show Walter and Phyllis’s relationship. Lighting is a key part of the film and in this scenario reveals a lot to the audience. When Walter walks in to the building we see his great shadow. This in the context of film noir shows he has a hidden agenda and this deception runs through the relationship. Not only this, but the light across Walter’s face reinforces the notion of a hidden agenda, half of his face is well lit, yet the other is darker. This contrasts with Phyllis whose face is darkly lit, her agenda is more obvious than Walter’s, and he says “only you a little more rotten”. Shadows fill the room and this relates to the tense atmosphere of the scene.

There are other frequently used techniques that resemble Film Noir. The archway that Walter walks through acts as a portal from an environment that is safe, to one that is dangerous and intense. The mise-en-scene is also important as it emulates this idea of deception. Phyllis is wearing a lightly coloured dress, this shows her as someone with innocence, yet the audience knows that she isn’t. This irony shows how she is almost hiding an identity as the ‘femme fatale’. The way the two double-cross one another is another feature of the Film Noir genre. Their relationship is one that thrives on betrayal and manipulation.