Double Indemnity (1944)
An insurance rep lets himself be talked into a murder/insurance fraud scheme that arouses an insurance investigator's suspicions. (imdb)
Cast and Information
Directed By: Billy Wilder
Written By: Billy Wilder, Raymond Chandler, James M. Cain
Starring: Edmund Cobb, Edward G. Robinson, Bess Flowers, Barbara Stanwyck, Fred MacMurray, Porter Hall, Tom Powers, Fortunio Bonanova, Richard Gaines, Jean Heather, Byron Barr, John Philliber
Genres: Drama, Suspense/Thriller, Crime
Country: USA
Where to Stream
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Double Indemnity belongs to 152 collections
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Browse the full list of collections
| Stars | User | Rating | |
| 16 |  |
Nathan S | 6 99th |
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As dark and brutal as it got back in the 40s, and yet Wilder isn't afraid to stray into black comedy. A provocative and clever script, full of brilliant metaphors and subversion. Fred MacMurray makes a great turn, guiding the film in witty flashback narration. Barbara Stanwyck plays the nastiest femme fatale you've ever seen, and Eddie Robinson is an amusing detective-type. The photography is outstanding, as the absence of light overbears its presence. Pure cinema, and the definitive film noir.
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| 14 |  |
MartinTeller | 98 99th |
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The definitive noir, a brilliantly crafted bit of murder, deceit and paranoia. The superb screenplay by Chandler and Wilder is full of quotable little gems, with riveting performances by MacMurray, Stanwyck and Robinson. Thoroughly enjoyed it.
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| 13 |  |
doctor7 | 92 95th |
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Bloody great noir with superb dialog and tremendously tense scenes. You can easily see where so many noir trademarks can be attributed to this film and rightly so. It has a femme fatale, protagonist narration and snappy dialog. Add to this a stellar cast and you've got a fantastic movie that has certainly withstood the test of time. Simply put you owe it to yourself to see this film.
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| 11 |  |
Alex Watkins | 5 91st |
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One of the quintessential hallmarks of the noir style; it's packed from wall-to-wall with noir trademarks. And it's all done excellently. MacMurray's voice-over narration practically makes this for me, if not for the fact that everything else about the film is fantastic as well. Stanwyck is especially memorable as the baddest femme fatale in noir. I waited years to see this because it wasn't on DVD, and it lived up to every expectation I had.
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| 11 |  |
KasperL | 97 99th |
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This has everything you could ask for in a hardboiled story: snappy dialogue, a cunning femme fatale, lots of suspense and the characteristic noir mood of doom, enforced by the superb writing of the narration. In fact, the entire script is perfect; perhaps one of the best ever? Stanwyck is terrific but Robinson steals the film. Arguably Wilder's best film and probably *the* quintessential film noir.
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| 10 |  |
BillyShears | 80 77th |
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If someone talked like a Billy Wikder character in real life they’d be the biggest asshole in the world, but in the movies they’re so good.
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| 9 |  |
Farzan | 93 94th |
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Double Indemnity contains one of the most cleverly crafted, and at the same time, thrilling stories ever. There is never one emotion you feel throughout this film, you weren't just anxious, or just sad, or just overcome with excitement, you feel all of those things, and more. The pacing, and how and when everything unfolds, is just perfectly executed, there isn't really a bad thing I can say about this film.
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| 9 |  |
frederic_g54 | 10 97th |
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(2nd viewing) As much as I adore Wilder's "Sunset Blvd.", and how he effortlessly marries filmmaking and story, "Double Indemnity" is his absolute masterpiece. Melodious narration, charismatic characters, snappy dialogues and a compelling plot, just to list some of the film's finest attributes. I used to think MacMurray was miscast as the film's protagonist but I wholeheartedly backtrack on that statement. Films noir don't get any better than this. Highly recommended !!!
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| 8 |  |
Ytadel | 8 93rd |
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Probably the all-time greatest non-detective noir. The dialogue nailed all the rhythms and witticisms of noir that have been so imitated they have since become cliché, the two leads are electric, the dark, contrast-filled visual style is flawless, the ending is perfect, and it's dark and brutal down to the bone.
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| 8 |  |
Shmendrek | 5 96th |
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I'll prematurely (but confidently) call Double Indemnity the definitive film-noir. Billy Wilder once said that the key to good filmmaking is to "grab 'em by the throat and never let 'em go." This is Wilder practicing what he preaches.
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| 6 |  |
TedDedon | 96 95th |
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Double Indemnity is a perfect example of how a film noir movie should be. It takes every element to achieve excellence and mixes it exactly how you'd want it to be. The two leads, MacMurray and Stanwyck put on excellent performances that are gripping and often times very intense. The story is brilliant and creative in a way that most movies don't even dream of.
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| 6 |  |
TimeCapsule | 85 89th |
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Did you ever think, that like maybe, the mysterious unseen little man that lives inside Edward G. Robinson's chest, causing all his digestive issues and helping him solve insurance claims is actually related to the little man that mysteriously lived inside Marshall Bell's chest and secretly was the mutant leader of a Martian resistance movement? Yeah...me neither..But...a movie where a man has a tiny 'Sherlock Holmes' like indigestion imp help him solve insurance fraud would've been pretty cool.
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| 5 |  |
Magb | 95 94th |
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My favorite film noir, unless you count Casablanca or Vertigo. At least it's my favorite film noir that's unquestionably a film noir from beginning to end.
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| 5 |  |
caiman | 96 99th |
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Wilder is at the top of his game here. And so is MacMurray. And so is Stanwyck. And so is Robinson. In fact, this is a nearly perfect movie. The plot is air tight, the script is intelligent, intense and enveloping, and the direction and cinematography are quintessential film noir. There's just nothing to complain about here. What a great, enjoyable movie.
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| 5 |  |
Dean Franz | 100 98th |
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Even though it isn't as groundbreaking as The Maltese Falcon, as fascinating as The Big Sleep or as classic in its noir form as Murder, My Sweet, Double Indemnity still ranks as my favourite of the original film noirs as well as master director Wilders best film. It holds everything associated with the genre delivered perfectly at just the right moments as well as incendiary acting from Stanwyck and Robinson. Quite simply, it's a must see for anyone in the least interested in cinema.
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| 5 |  |
Jeb | 91 82nd |
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God. Good god. If you haven't seen this, rent it right now!
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| 5 |  |
XakkMaster | 97 98th |
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So utterly classic. Crisp black and white visuals, suits and dresses, a twisted murder plot and MacMurray's narration that drives the story along like an old-fashioned radio show. The script is flawless; 'How could I have known that murder can sometimes smell like honeysuckle?' The direction is also top-notch and though the audience pretty much knows what's going to happen, there is never a lack of tension or suspense.
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| 5 |  |
Paxton | 77 82nd |
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The book almost reads like a script but I love the little changes they made like Stanwyck hiding behind the door outside Macmurray's apartment while the film's real star, Edward G. Robinson is laying out his theory. There's just no such thing as a perfect murder unless you're really really into crows.
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| 4 |  |
cmull | 96 99th |
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A great introduction to film noir. Compelling plot and characters.
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| 4 |  |
Dorkovsky | 9 96th |
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An amazing film, though it has been copied so many times it almost seemed predictable. The dialogue is fantastic and kept me entertained throughout.
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| 4 |  |
nandorizzi | 95 97th |
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One of the best noir films ever, great classic. A very intense and essential movie, with an engaging narrative, exploring very well the factor investigative and the psychological side of the characters.
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| 4 |  |
Barthalen | 87 94th |
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Watching this excellent classic is like being perforated by a tommygun that uses witty remarks for ammo. It's cool, dark and rock solid. Edward G. Robinson as Keyes stole the show for me.
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| 4 |  |
purgatos | 98 99th |
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The only thing I don't love about this movie is Stanwyck's wig.
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| 4 |  |
Seryxa | 100 93rd |
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Archetypal film noir of the 40s, brilliantly filmed and incisively written, perfectly capturing the decayed Los Angeles atmosphere of a Chandler novel but using a simpler story and more substantial characters. The hero/villain was almost a new concept.
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| 4 |  |
billkerwin | 91 86th |
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One of the great film noir. The direction is rich in mood, the script is sharp and ironic, and the three principal performances nothing short of superb. It's no longer as subversive as it once was, and the tough dialogue has begun to sound a little corny, but it still packs a helluva punch.
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| 4 |  |
Jerky | 80 96th |
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Great dialogue and rapport between the two leads, while Edward G. Robinson shows why he's one of the best character actors in film. A well thought out story and a great caper set-up, results in this being one of the best film noirs of all time.
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| 4 |  |
goremeat | 90 95th |
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Oh... so ... close... damn. Caught. Oh, and femme fatale excellence.
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| 4 |  |
ribcage | 83 82nd |
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A film noir that’ll ramp up your anxiety, despite the obvious fact that you’re anxious for the well-being of unsympathetic bastards. Isn’t that the wonder of movies!?
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| 3 |  |
Vince Leo (Qwipster's Movie Reviews) | 91 97th |
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Great writing, great acting, great direction, great plot -- if only all movies could be like this! [Full Review]
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| 3 |  |
Stain | 100 95th |
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Absolutely awesome film noir. Especially great if you grew up watching Fred MacMurray in all those Disney films. Don't miss this one under any circumstances
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| 3 |  |
MonsterGear | 87 83rd |
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Totally wicked, very classy stuff. Good dialogue and a nicely twisty story.
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| 3 |  |
prowler | 98 99th |
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Phyllis: And you don't really care whether we see each other or not. Walter: [kissing her] Shut up, baby.
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| 3 |  |
darkman | 90 98th |
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Great film noir. Billy Wilder at his best.
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| 3 |  |
moush | 91 96th |
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Baby baby baby.
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| 3 | oolookitty | 100 98th |
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It's perfect. The best dialogue in any film, ever. And Stanwyck is God.
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| 3 | scurry | 95 99th |
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Shut up, baby! Not a superfluous word, moment or glance. By the end, not unusually for the genre, the plot kind of breaks down, but still such a well-shot, well-acted, ice cold, constantly witty, everything you'd come to expect noir.
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| 3 |  |
Shadrik | 100 99th |
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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.
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| 3 |  |
begoniabol | 84 85th |
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Thrilling, sharp dialogue and great acting. I loved it all, especially Keyes
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| 3 | Jazzaloha | 85 96th |
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Edward G. Robinson creates one of the greatest supporting characters of all-time. Some of the best dialogue of all-time, too.
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| 3 |  |
afx237vi | 100 99th |
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Pretty much the film noir upon which all other film noirs are judged. It really has all the elements; the voiceover, the flawed male protagonist, the deadly femme fatale, the detached sense of loneliness and isolation, the sharp lighting. The plot is genius, the dialogue is incredible, but Stanwyck's black widow act is what really makes this so good. She just oozes sex appeal, so it's no wonder poor Neff (two F's, like in Philadelphia) falls under her spell. Great film, straight down the line.
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| 3 |  |
jesse25 | 99 95th |
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The fast-paced dialogue and quick exchanges between Fred MacMurray and Barbara Stanwyck makes for hilariously entertaining scenes. "Double Indemnity" is most definitely the quintessential film noir and one of director Billy Wilder's best. It's an important film in terms of pop culture and also as a warning for men to stay away from sexy seductresses who wear anklets and bad wigs.
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| 2 |  |
SlrSoapbox | 85 86th |
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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.
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| 2 | svicciarelli | 98 98th |
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Compelling film noir that has an unlikely male lead, both in real life and as a fictional character. One of the greats.
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| 2 |  |
Kavu | 89 92nd |
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One of the best noir screenplays I've ever watched. The lead roles do a decent job and Wilder's directing is at the usual high level.
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| 2 |  |
TheDiceman | 80 95th |
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Great film.
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| 2 |  |
HalfJapanese | 95 97th |
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An absolute classic.
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| 2 |  |
twincinema | 90 92nd |
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I started calling everyone baby after this film. No, it's not a laughing matter. Please send help.
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| 2 | Skenkere | 88 94th |
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Fantastic noir. Part of me thinks it's even better than the Maltese Falcon.
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| 2 |  |
westknife | 97 97th |
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Both the girls in this are so hot. What is it about 40s chicks
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| 2 |  |
jacobkosh | 92 92nd |
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A beautiful noir classic.
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| 2 | LordCaes | 95 99th |
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Great story, script and direction. The performances are all special, but Edward G Robinson is amazing.
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| 2 |  |
Icarus | 91 91st |
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Excellent film noir from Wilder and company. The film moves at a quick pace, the twists are entirely believable, and the characters continue on the paths they take at the film's outset, leading to destruction or vindication. The dialogue crackles in true '40s noir-style, making this an enjoyable watch over and over again.
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| 2 |  |
rthornhill | 99 99th |
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My favorite noir. Great acting, dialogue, soundtrack.... In one word, spectacular.....
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| 2 |  |
tathiel | 90 95th |
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Being called THE film noir, Billy Wilder set a standard for a new genre which has been copied, portrayed, made fun of etc. so many times. The perfect start for this and the neo noir genre! Great classic!
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| 2 |  |
Optimus_mike | 100 98th |
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Gripping is the only adequate way I can describe Double Indemnity. It is filled with all of the best Noir elements and in my limited experience is the best I've seen. I look forward to devouring more Wilder classics.
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| 2 |  |
QVT | 95 96th |
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One of the best one line jokes ever. The movie is fantastic too but in twenty years there is no way I will ever forget a line like that.
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| 2 |  |
omgfridge | 9 92nd |
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God damn, this rules in every way.
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| 2 | Launch | 94 97th |
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Film noir at its best and one of my very favorite Billy Wilder films. Barbara Stanwyck is absoutlely sinister as Phyllis and Edward G. Robinson gives a memorable performance as well. This is definitely a must-see movie.
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| 2 | grey_malkyn | 100 91st |
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Best script in the noir genre.
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| 2 |  |
mwgerb | 74 90th |
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The dialog is razor sharp and perfectly delivered, the femme fatale is beautiful and diabolical, the plot is twisted and tense, and the cinematography is as shady as the characters who inhabit it. This movie is what I think of when I hear the words film noir.
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| 2 |  |
Valenzetti | 95 96th |
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Pretty much perfect. Wilder nails that Expressionistic minimalist look that lower budgeted films stumble onto, and really makes it sing. It allows the film to feel grimy, rather than just looking it. Sunset Boulevard is the Wilder film David Lynch usually acknowledges, but I see just as much of Double Indemnity in his work. That's a very good thing.
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| 2 |  |
AAAutin | 48 43rd |
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Edward G. Robinson is adorable here--a real Teddy G. Bearinson, baby.
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| 2 |  |
dunbar | 97 98th |
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Amazing, simply amazing. If you want a script that will blow you away with every twisted turn of phrase and delivered with a cold shot of bourbon and a twist of lemon, this is it. This is the one to watch. Pure noir. Pure cinema.
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| 2 |  |
Leonardis | 97 95th |
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Deserving of its reputation! Its inspiration on cinema was evident and its staple in cinema feels earned if this really was some sort of turning point for screenwriting and how Hollywood would do movies going forward. The three leads were all excellent and delivered surprisingly touching, memorable performances. I thought it was really well lit, directed and paced. None of the screen time felt wasted, nor the talent on and off camera. Essential noir, but also essential just viewing!
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| 2 |  |
mattorama12 | 93 98th |
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Noir always seems like such a great genre, but I often find them a little stilted and boring. Double Indemnity, however, fulfills the promise of the genre. A beautifully crafted mystery that unfolds in layers, great cinematography, and dark characters. One of those movies you're ready to re-watch the second the credits roll.
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| 2 |  |
NBD Rab | 95 96th |
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THE classic noir plot, a tale of forbidden romance with temptation and betrayal. Sharp dialogue and great acting. Robinson really steals the show here. This film is perhaps one of the best for introducing someone to the film noir genre.
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| 1 |  |
Actionberg | 85 84th |
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Sure as ten dimes buys you a dollar.
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| 1 | JoshStew06 | 82 66th |
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A classic noir movie that is straight down the line good.
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| 1 |  |
Moribunny | 35 19th |
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Like many well-liked Hollywood movies of its time, Double Indemnity is shrewd but remarkably stupid, features some sub-standard acting, and just had me restlessly bored throughout . It mortifies me that this movie receives so much more attention than the similarly themed and infinitely superior Visconti film Ossessione from the year before.
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| 1 |  |
TheDenizen | 95 98th |
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Quite possibly the best noir film. The use of shadow and light is stunning, and the snappy banter between Fred MacMurray and Barbara Stanwyck is just incredible.
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| 1 | Jesty | 92 90th |
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Still compelling and alluring today. Magnetic performances from all of the leads.
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| 1 | Jason | 95 84th |
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Almost perfect
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| 1 |  |
MJVmovieMan | 98 99th |
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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.
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| 1 |  |
vesupria | 9 95th |
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The quintessential film noir. The voiceover, often poetic, often dismally blunt, always captivating, draws you into its bleak 'do or die, do and die' world, where morality or fortune means little more than being part of a trolley cart ride, with no stops, straight to the end of the line and into the cemetery. There is no alternative. Wilder shows us his vision of a paranoid world, where good nor evil, can save us from our fate, written on the cold stone that is reality.
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| 1 |  |
Mini-T | 92 94th |
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A must-watch for everyone who wants to learn about the classics of American cinema. A well crafted story, brilliant use of lighting, camerawork, spacings, settings etc. A text-book film that has all the core elements of a good film noir. The character-identification was huge in this one, and on many occasions you will be waiting in suspense to see what happens next. A classing among classics.
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| 1 |  |
Haruko | 80 88th |
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Some of the acting was a bit over the top but the tension in this noir was breathtaking even when you knew the ending all along.
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| 1 |  |
febraro | 90 92nd |
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I've always had a weakness for film noir, and Double Indemnity really takes all the aspects of the genre a step further. I wouldn't call it my favorite noir just yet, but it's definitely one piece of brilliance.
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| 1 | noirguy1 | 100 92nd |
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A great classic film noir.
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| 1 |  |
Luna6ix | 81 77th |
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Fairly well put together, but it's reputation far outweighs the actual quality of this movie--that's not to say it's bad in any way, just not good enough to really impress me. This did, however, have some of the best narration ever created.
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| 1 |  |
Vandelay1 | 94 99th |
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Great Movie
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| 1 |  |
Hadleyreis | 96 99th |
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One of those tricky ones where you can't decide whether you preferred the book or the film.
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| 1 |  |
heapshake | 95 98th |
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Fast paced and extremely intense. Despite knowing exactly where everything is headed, it manages to keep you glued to the screen.
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| 1 |  |
CosmicMonkey | 85 86th |
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The Noiriest Noir that I have ever seen. Avoids the labyrinthine conspiracies of other noirs to create a focused, yet deep narrative, and completely doubles-down on the chiarascuro lighting, Expressionist angles, and voice-over narration to create what could be rightfully be called the paradigmatic film noir.
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| 1 |  |
lovelyricha1 | 90 95th |
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wow wow wow!
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| 1 | cinemabuff | 90 83rd |
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A cleverly written classic. Witty dialogue, great direction and perfect rhythm. Barbara Stanwyck is a classic as the alluring and diabolical Phyllis. Entertaining from start to finish.
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| 1 |  |
Anselmi86 | 98 98th |
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Maybe the best film noir ever created.
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| 1 |  |
gsb | 90 96th |
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Excellent.
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| 1 |  |
Judo Koala | 85 90th |
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"I wonder if I know what you mean?" "I wonder if you wonder."
They just don't make movies this damn cool anymore.
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| 1 |  |
roofs_runner | 96 96th |
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Looks like everything Billy Wider touched was supposed to turn into gold. Every scene, dialogue or monologue or how every fragment unfolds makes you feel the tension in the air you breeze. The play of shadow and light adds some more extra mystery to the story. Double Indemnity is a perfect example of what a real thriller movie should be.
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| 1 |  |
shalev | 89 93rd |
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A-ha! Now I understand all the fuss about film-noir!
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| 1 |  |
mandy | 8 92nd |
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Classic film noir - great dialogue, a moody atmosphere and an engaging plot.
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| 1 | Mblake23 | 95 98th |
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My favorite noir film. I've seen it a few times and enjoy something new every time.
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| 1 |  |
Ununnilium | 87 87th |
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A strong crime movie from beginning to end, about pain and desperation and loneliness and Edward G. Robinson being a good actor.
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| 1 | wedders | 88 87th |
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Just an incredible film with a stellar cast and flawless performances all round, I urge you to watch it!
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| 1 | dirkdigger | 95 76th |
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One of my all-time favorite films by one of the all-time greats: Billy Wilder. Double Indemnity is thee quintessential Film-Noir! Contains an amazing score by Polish composer Miklós Rózsa.
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| 1 |  |
3dRevelation | 88 95th |
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Probably the best noir film I've seen after Hitchcock's Vertigo. And I liked it better than Wilder's own Sunset Boulevard. The plot was pretty good and the performances were good. Personally, I felt Edward G. Robinson stole the show, but MacMurray and Stanwyck were both good. There are some definite good scenes here and the whole film worked really well.
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| 1 |  |
Matija D | 89 93rd |
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Intriguing, intense and keeps your attention to the very end. Has everything what one good old classic "film noir" should have.
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| 1 |  |
HenrikM | 88 93rd |
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Brilliant and snappy dialogue combined with great acting and directing makes one of the best noir films I've seen so far.
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| 1 |  |
Yiannos | 75 84th |
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Despite its reputation, Double Indemnity isn't the greatest noir ever made, nor is it Wilder's best, but it still packs a punch, and its hard chiaroscuro lighting was massively influential, for good reason: it's virtually a character. An insurance man--played memorably by MacMurray in an atypical role--conspires with the grandmother of femme fatales---portrayed marvelously by Stanwick--to murder her husband and collect the insurance. The plot is well structured and the dialogue is sharp.
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| 1 |  |
le mami | 60 52nd |
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Unlike everyone in criticker I'm not in love with this movie. It is true that you feel comfortable watching them, you think they have good dialogues, scenarion etc. but they definetely don't enrich your life. You just watch them and like them. However, when the time goes on they lost their value and become less meaningful, you don't remember anything about them or that's just what I think.
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| 1 |  |
Snufkin88 | 82 81st |
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One would think that any story that has an insurance/fraud scheme between two lovers at the heart of it needs one thing above all to succeed: A believable romance. That this film fails on that count but still remains thrilling from start to finish is testament to the near faultless script and stellar directing. Edward G Robinson is king here, despite his supporting actor role. A classic film noir with so many quotable lines.
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| Average Percentile 77.36% from 4114 Ratings |  |