film as a narrative art

Some of my favorite classes in college were the Film as a Narrative Art studies, wherein we studied novels and the films which they inspired. It is a bit as in Art History, where you learn to appreciate that while the story may be the same, its depiction in painting and in sculpture are may be very different, and must be appreciated distinctly as they are different media by which to communicate to the viewer. In the same fashion, while I may enjoy a film version of a story more-so than a book version or vice-versa, there should be no snap judgement that "the book is better than the movie" as they are different media to present to subject to the viewer, and must be critiqued within the framework of their medium.

That being said, I found this particular short analysis of the classic Double Indemnity fascinating, wherein the Glenn Kenny notes Barbra Stanwyck's anklet as device absolutely essential to the narrative and character development within the film, while it is a detail completely absent from the novel.

That, and the introduction of the femme fatale, and the pivot on the anklet, is my favorite scene in the movie.

If you have a moment, click over to Balder & Dash at Roger Ebert.com and read Mr. Kenny's article "A Woman's Equipment: Barbara Stanwyck's Anklet in 'Double Indemnity,'"

Excerpt:

Because relative to the film's momentum, the person most affected by the anklet is Neff. It's brought up four times within seven minutes. Observing it, Neff says, "That's a honey of an anklet you're wearing Mrs. Dietrichson. As I was saying, I'd hate to see the policies lapse." And after a bit more innocuous chit-chat, Neff's eye goes for the glint once more: "Wish you'd tell me what's engraved on that anklet."
"Just my name," the woman up until now only known as Mrs. Dietrichson replies.

"As, for instance?"

And Mrs. Dietrichson tells Neff it's Phyllis. There follows the justly-famous speed limit banter, and Phyllis' entirely insincere admonishment, and some backtracking wherein Neff tries to set a time when he can come back and speak to the man of the house about the insurance matter. Perhaps Mrs. Dietrichson will be there for the chat as well.

"Same chair, same perfume, same anklet?" Neff asks.

"I wonder if I know what you mean," says Phyllis, in a cold teasing tone that will be subject to more sinister variations as the movie continues.

"I wonder if you wonder," says Neff, with a smirk that the viewer already knows has been wiped off of his face for good.

The dialog breaks the speed limit in this scene as much as Mr. Neff's advances. Such a great roll.