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Double Indemnity

Double Indemnity (1944)

July. 03,1944
|
8.3
|
NR
| Thriller Crime

A rich woman and a calculating insurance agent plot to kill her unsuspecting husband after he signs a double indemnity policy. Against a backdrop of distinctly Californian settings, the partners in crime plan the perfect murder to collect the insurance, which pays double if the death is accidental.

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Steineded
1944/07/03

How sad is this?

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Nessieldwi
1944/07/04

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

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Curapedi
1944/07/05

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

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Kien Navarro
1944/07/06

Exactly the movie you think it is, but not the movie you want it to be.

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Ivan Lalic
1944/07/07

Crime and love story intertwined were a trademark in classic Hollywood thriller and Billy Wilder's script about an insurance agent (MacMurray) falling for a seductive dame (Stanwyck) is no excuse. All the usual elements of such a story are there, a basic simple, yet smart plot, some sharp turns in the script and a macho sweet and sour finale as well. When you combine all that together, you get a good, yet not unforgettable box office crowd pleaser. "Double indemnity" is a classic within a classic era, a strong mainstream contender without any highs or lows.

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John Brooks
1944/07/08

Billy Wilder rhymes with quality film-noir by reputation. Snappy quick-witted dialog, a tumultuous introduction that forces the viewer right into the thick of the plot and action that often starts at the very end before recounting the story (as here), a femme fatale lead character along with a cynical blasé male lead who often switches between effective line delivery and narration in the background (as here), and a plot that is complex involving different parties that appreciates a psychological intrigue and insight into the protagonists' minds and motivations, the actors always top drawer with their individual performance and presence onscreen offering strong guarantee for the whole ride.The thing about this one is as often the dialog is too dense and too prolific imposing a solicitation of utter focus and attention from the viewer for the entire show and where it's interesting and effective in many parts, it's just too much effort for little reward: the actors just spew out a ton of lines with incredible cadence and this contributes to a feeling of prolonged length. Also strongly adding to the effect of distorted time, like the film is too long for its own good is how it runs out of puff at just about 30 minutes before the end. All of the wit and plot strong points and crux of the film are dispensed through the first hour plus, and just when the momentum appears to be at a peak the film aggressively maintains a suspended effort of keeping that high note going on, and on, where it feels artificially kept alive and can't seem to make itself as interesting as the first two thirds. There's a natural rhythm and momentum for any film but these crime film-noirs especially and the intrigue needs to be carefully conducted and evenly spread over whichever period of time. It just feels dead and drags on at the end here, the last half hour rather painful and with little reward as there's a strong feeling of inevitability that something fairly predictable and just about how we'd imagine it is about to happen, the film strips its own self of any element of surprise and spontaneity and denies its viewer a punchy ending which is disappointing after demanding such focus from the audience. Finally, there's also the fact this sort of film relies on details fulfilling the requirements of the plot and there's a dominant feeling of predictability and convenience to key characters with their resolving of the plot. This remains a top film-noir for what it is and lots of good work was also put into it, however there's no excuse for throwing off the pace and having a film end on a lackluster note, if you're the film-maker it's your number one duty.6.5/10.

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Sameir Ali
1944/07/09

There is no such thing called a perfect murder. The movie is based on a real story, and this story had been base for so many similar films.The movie begins with the confession of the hero. He has killed a man, as per the idea of his wife. The hero is an insurance agent and he knows the best to claim the policy in double; know as "Double Indemnity". It was a well planned and executed murder. They were able to convince most of the people. But, there is no such thing called a perfect murder.A very thrilling crime drama. Well directed, and perfect in all areas.Listed among the best movies. It was nominated for 7 Oscar, but won none.Do not miss this classic. Highly Recommended!#KiduMovie

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jacobs-greenwood
1944/07/10

Fred MacMurray plays Walter Neff, an insurance salesman seduced by Barbara Stanwyck's Phyllis Dietrichson (AFI's #8 villain) into killing her husband (Tom Powers). Edward G. Robinson is the claims manager, Barton Keyes, who is assigned to investigate. Noted character actor Porter Hall also appears, as a kind of witness to the "act". Richard Gaines plays an insurance company executive, whom Robinson 'dresses down' in one of the movie's many taut scenes.The story is told in flashback, by MacMurray's character, who gets to watch Robinson's work the case (not unlike the way Peter Falk later played TV's Columbo).The film received Academy Award nominations in several categories, but failed to win a single Oscar: Best Picture, Best Actress for Stanwyck, Best Director for Billy Wilder, Screenplay by Raymond Chandler and Wilder, its John Seitz B&W Cinematography, its Miklós Rózsa Score, and Sound by Loren Ryder. #38 on AFI's 100 Greatest Movies list. #24 on AFI's Most Heart-Pounding Movies list. #84 on AFI's 100 Greatest Love Stories list. Added to the National Film Registry in 1992.

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