There is a generous dash of pleasurable voyeurism in listening to MacMurray's Neff, as charismatic a killer as you'll ever meet, recount the fascinating story of his crime. A series of vignettes illustrate his recollection of the murder that he commits with Stanwyck's icy Dietrichson, and highlight the tension caused by his close relationship with Robinson's Keyes. The characters manage to convey surprisingly nuanced emotions considering they never drop their respective veils of nonchalance.

A prime example of Wilder's way to entertain the viewer. Every conversation is compelling due to great acting and perky dialog. A perfect movie to get into film noir (I had problems enjoying it before) as it has all the trademarks you are looking for. The only problem is, it probably won't get any better than this.

In some ways I prefer other films noir, but this definitely deserves to be considered a classic. I never really bought MacMurray as a murderer, but I would believe practically anything of Stanwyck.

A-ha! Now I understand all the fuss about film-noir!

An intense thriller-noir built entirely upon a premise of temptation. A lot of the character motivations remain uncertain, and that keeps Billy Wilder and his film at point blank range throughout, constantly alluring and on edge. Suspense runs deeps here, and the actors never falter in keeping us engaged and wondering not only 'what,' but also 'why.' "Double Indemnity" is certainly a masterpiece in writing, pacing, acting, directing, editing, and suspense.

back when hollywood hired writers to write script

My favorite noir film. I've seen it a few times and enjoy something new every time.

edward g. robinson is a ton of fun in his snappish insurance inspector role. the protagonist and the femme fatale have great chemistry. it's a classic tale of how you can commit a crime, but you can't reap its benefits. only problem: the protagonist is boring as hell, and the implication of a strong relationship between him and robinson's character is only stated and not shown effectively.

An almost perfect film noir, with excellent writing and direction. Stanwyck and Robinson both deliver great performances, but Fred MacMurray occasionally feels a little awkward. Still, this is one of the greatest. It is not to be missed.

A lurid, steamy, highly memorable noir. Not a neo-noir or a post-modern noir, but a TRUE classic one.

One of the best works of Wilder and one of the best examples of film noir!