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Double Indemnity poster

Double Indemnity (1944)

1944 • 1h 47m • Thriller, Crime • NR
On September 20, 2026
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Reviews — Double Indemnity

Audience write-ups from TMDB

CinemaSerf

8/10
Jun 30, 2022

Tom Powers’s marriage to the detached and calculating Phyllis, portrayed by Barbara Stanwyck, proves to be problematic when she begins an affair with his charming insurance salesman, Walter, played by Fred MacMurray. They devise a scheme to get rid of him and collect on his life insurance policy, and Walter discovers how they can increase the amount received. Shortly after the man’s body is discovered near train trac

JPV852

9/10
May 22, 2022

This is an exceptionally strong film noir from the nineteen forties, featuring noteworthy performances by Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. The cinematography and direction, both handled by Billy Wilder, are also quite good. It had been a while since I’d last viewed it—easily two decades—but seeing a scene from this film surface in another movie I recently re-watched, Femme Fatale, was an inte

dogstir

10/10
Feb 23, 2021

_Double Indemnity_, released in 1944, is possibly the finest film noir ever made, featuring Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. The story comes from a novel by James Cain, and the script was written together by Billy Wilder and Raymond Chandler. The narrative unfolds in California during 1938 and draws inspiration from an actual event: the 1927 murder of a married woman’s husband in Queens,

John Chard

10/10
Nov 5, 2017

A significant film from cinema's classic noir period. Double Indemnity comes from director Billy Wilder, who also adapted the screenplay alongside Raymond Chandler, drawing from the novella by James M. Cain. The cast includes Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. Miklos Rozsa composed the music, and John F. Seitz was in charge of cinematography. As someone who appreciates film, it almost seem

talisencrw

10/10
Sep 22, 2016

Trying to select a single favorite film by Wilder feels almost impossible; my preference usually goes toward earlier achievements like 'The Lost Weekend' or 'Sunset Boulevard', and this one as well. He had an exceptional ability to cut through the superficiality and get directly to what makes noir so compelling (as Jean-Luc Godard famously put it, all that’s needed is ‘a man, a girl and a gun’). Barbara Stanwyck c

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