Double Indemnity (1944)

My chosen scene for Double Indemnity is the first meeting between Neff and femme fatale Phyllis Dietrichson. Neff is looking to sell Mr. Dietrichson insurance, however he is not home when Neff calls. Instead, Neff meets the beautiful Phyllis, Dietrichson's wife. Phyllis is first shown in a fairly extreme low-angle shot, establishing her from the first point we see her as a dominant character. It is also worth noting that initially she is partly obscured by the banister and some form of drape, adding a degree of mystery and menace to her.



The establishing dialogue between the two also suggests to us that she is in control of the situation, making him repeat himself and being generally elliptical in her replies. Her semi-nudity also promotes the femme fatale status, given that it places Neff in a somewhat awkward situation, where she is noticibly still in control.
The conversation is shown in shot-reverse shot, switching from the low-angle shots of Phyllis to a high-angled shot of Neff. The high-angle suggests that Neff is an inferior character, playing in to the protagonist-femme fatale dynamic.
Neff is shown in to the living room, which features the noir characteristic stark contrasts between lights and shadows. There is also the appearance of venetian-blind effect.
Upon entry to the living room, Neff begins a first-person narration. This is another common feature of classic noir, and in this instance establishes the context.
When Mrs. Dietrichson returns, one of the first things we says is "I hope I've got my face on straight", immediately confirming her as a femme fatale, of which a natural characteristic tends to be immaculate appearance and attractiveness.
The two have a lengthy conversation, ultimately ending with Neff being shown out. He is asked to return to the house again, to which he enquires whether she will be there as well. This establishes Neff's interest in the character, and further confirms her as a definitive femme fatale.