# Double Indemnity

Double Indemnity is a 1944 American film noir directed by Billy Wilder and produced by Buddy DeSylva and Joseph Sistrom. Wilder and Raymond Chandler adapted the screenplay from James M. Cain's novel of the same name, which ran as an eight-part serial in Liberty magazine in 1936.
The film stars Fred MacMurray as insurance salesman Walter Neff, who plots with a woman (Barbara Stanwyck) to kill her husband in order to claim a life insurance payment, arousing the suspicion of claims manager Barton Keyes (Edward G. Robinson). The title refers to a "double indemnity" clause which doubles life insurance payouts when death occurs in a statistically rare manner.
The film was nominated for seven Academy Awards. Widely regarded as a classic, it is often cited as having set the standard for film noir and as one of the greatest films of all time.

## Plot

Wounded from a gunshot, insurance salesman Walter Neff stumbles into his Los Angeles office. He records a dictaphone confession for claims manager Barton Keyes.
One year earlier, Neff flirts with Phyllis Dietrichson during a house call about her husband's automobile insurance. Phyllis asks about getting a policy on Mr. Dietrichson's life without his knowledge; deducing that she is contemplating murder, Neff wants no part of it but is fascinated with her. Later, Phyllis visits his apartment, where he concocts a plan to make Dietrichson sign a life insurance policy without realizing it, murder him, and frame it as an accident in order to trigger the policy's double indemnity clause.
Neff has Dietrichson sign the policy by convincing him that it is a copy of his automotive insurance renewal. Dietrichson unexpectedly breaks his leg before the murder can take place, delaying the scheme. Neff hides in the back seat of Phyllis' car while she drives Dietrichson to a train station. Neff breaks Dietrichson's neck, leaving the dead body in the car with Phyllis, while he boards the train posing as the crippled Dietrichson. He jumps off the back of the train at a pre-arranged spot, where Phyllis helps him pose Dietrichson's body on the tracks.
Neff's boss believes the death was a suicide. Keyes scoffs at the idea, which he considers statistically implausible, but does find it strange that Dietrichson did not file a claim after breaking his leg. He begins to suspect that Phyllis and an accomplice had him murdered. Reasoning that Dietrichson was not aware of the policy due to his not filing a claim on the broken leg, the company refuses to pay out. Meanwhile, Phyllis' stepdaughter Lola befriends Neff. She tells him that she saw Phyllis trying on mourning clothes several days before Dietrichson's death, and that she also suspects that Phyllis had killed her mother in order to marry Dietrichson. She now fears that Phyllis plans to kill her next.
Keyes finds a witness who says that the man he saw on the train was not Dietrichson. Neff warns Phyllis that pursuing the insurance claim in court risks exposing the murder, and insists that they should not see each other until the investigation ends. Neff learns that Nino, Lola's ex-boyfriend, has been visiting Phyllis every night since the murder, and that Keyes suspects Nino of being her accomplice. Fearing for Lola's life, Neff goes to confront Phyllis.
Neff tells Phyllis that he suspects her plan was to manipulate Nino into murdering Lola, and threatens to kill her. Phyllis shoots Neff, but when he comes closer and dares her to shoot again, she does not. She says that she never loved him "until a minute ago, when I couldn't fire that second shot." As they embrace, Neff shoots her twice with her gun. As Neff leaves, he sees Nino walking up to the house. Neff convinces Nino to call Lola and make up with her.
Neff finishes recording his confession and looks up to see Keyes watching him. Telling Keyes that he plans to flee to Mexico, he walks out of the office but collapses in the doorway. Keyes calls for an ambulance and the police, and the two wait for them to arrive.

## Cast

* Fred MacMurray as Walter Neff
* Barbara Stanwyck as Phyllis Dietrichson
* Edward G. Robinson as Barton Keyes
* Porter Hall as Jackson
* Jean Heather as Lola Dietrichson
* Tom Powers as Dietrichson
* Byron Barr as Nino Zachetti
* Richard Gaines as Norton
* Fortunio Bonanova as Sam Gorlopis, truck driver
* John Philliber as Joe Pete, elevator operator
Uncredited
* Raymond Chandler cameo as a man reading a magazine outside Keyes' office as Neff exits
* Bess Flowers as Norton's secretary
* Betty Farrington as Nettie, Dietrichson's maid
* Teala Loring as Pacific All-Risk Insurance telephone operator
* Sam McDaniel as Charlie, Garage Attendant
* Miriam Nelson as Keyes' secretary
* Douglas Spencer as Lou Schwartz, Neff's office mate
* Norma Varden as the secretary who lets Mrs. Dietrichson into the insurance office

## Production
### Background

James M. Cain based his novella Double Indemnity on a 1927 murder perpetrated by Ruth Snyder, married to Albert Snyder, and her lover Henry Judd Gray, who colluded with an insurance agent to obtain a $45,000 policy with a double-indemnity clause without Albert's knowledge and then have him murdered.
Cain had become a popular crime novelist following the publication of The Postman Always Rings Twice in 1934, and Double Indemnity began making the rounds in Hollywood shortly after it was serialized in Liberty magazine in 1936. Metro-Goldwyn-Mayer, Warner Bros., Paramount, 20th Century-Fox, and Columbia competed over the rights to adapt Double Indemnity, but the fervor ended when Hays Office censor Joseph Breen warned in a letter to the studios:
   The general low tone and sordid flavor of this story makes it, in our judgment, thoroughly unacceptable for screen presentation before mixed audiences in the theater. I am sure you will agree that it is most important...to avoid what the code calls "the hardening of audiences," especially those who are young and impressionable, to the thought and fact of crime.
In 1943, Cain's novella was anthologized with two others in Three of a Kind. Paramount's Joseph Sistrom bought the rights for $15,000, envisioning Billy Wilder as the director of an adaptation. Paramount resubmitted the novella to the Hays Office and got an identical response as seven years earlier; Paramount then submitted a partial screenplay to the Hays Office. It was approved with three objections about portraying the disposal of a corpse, the gas chamber execution scene, and the skimpiness of the towel worn by the female lead.$^{:54}$
Cain felt Joseph Breen owed him $10,000 for vetoing the purchase of the property for $25,000 in 1936.

### Writing

The restrictions imposed by the Hays Code made adapting Double Indemnity a challenge. Wilder's writing partner Charles Brackett helped with the treatment before bowing out. Wilder characterized their time apart: "1944 was 'The Year of Infidelities'...Charlie produced The Uninvited...I don't think he ever forgave me. He always thought I cheated on him with Raymond Chandler."
Cain was Wilder's first choice as a replacement for Brackett; Since Cain was working at 20th Century Fox, he was never asked to work on the film. Sistrom suggested Raymond Chandler, whose 1939 novel The Big Sleep he had admired.
New to Hollywood, Chandler demanded $1,000 and at least one week to complete the screenplay, not realizing he would be paid $750 per week and that it would take fourteen. Wilder characterized Chandler's first draft as "useless camera instruction"; to teach Chandler screenwriting, Wilder gave him a copy of his script for Hold Back the Dawn. They did not get along during the next four months. Chandler quit once, submitting a long list of grievances about Wilder to Paramount. Chandler did agree to appear in the film, glancing up from a magazine as Neff walks outside Keyes' office; this is the only professional footage of him.
Chandler and Wilder made considerable changes to Cain's story. Because the Hays Code demanded criminals pay onscreen for their transgressions, the double suicide at the end of the novella was not permissible. The solution was to have the two protagonists mortally wound each other. The character of Barton Keyes was changed from a fairly clueless colleague into a mentor and antagonist to Neff.
Chandler felt that Cain's dialogue would not play well onscreen, but Wilder disagreed; after he hired contract players to read passages of Cain's text aloud, he conceded to Chandler. Chandler also scouted for locations including Jerry's Market on Melrose Avenue, where Phyllis and Walter discreetly meet to plan and discuss the murder.
Chandler was a recovering alcoholic. Wilder said that "He was in Alcoholics Anonymous...I drove him back into drinking."$^{:129}$ An embittered Chandler wrote in The Atlantic Monthly in November 1945 that "The first picture I worked on was nominated for an Academy Award...but I was not even invited to the press review held right in the studio."$^{:181}$ Wilder responded, "How could we? He was under the table drunk..." Wilder's experience with Chandler drew him to adapt Charles R. Jackson's novel The Lost Weekend, about an alcoholic writer, as his next film; Wilder wanted the film "to explain Chandler to himself." Library of America included the Double Indemnity screenplay in its second volume of Chandler's work, Later Novels and Other Writings (1995).
Cain was impressed with the screenplay, calling it "the only picture I ever saw made from my books that had things in it I wish I had thought of. Wilder's ending was much better than my ending, and his device for letting the guy tell the story by taking out the office dictating machine – I would have done it if I had thought of it."

### Casting

Sistrom and Wilder wanted Barbara Stanwyck to play Phyllis Dietrichson. She was the highest-paid woman in America. Stanwyck was reluctant to play a femme fatale, fearing it would have an adverse effect on her career. She recalled being "a little afraid after all these years of playing heroines to go into an out-and-out killer." Wilder asked, "Well, are you a mouse or an actress?" She was grateful for his encouragement.$^{:134}$
Alan Ladd, James Cagney, Spencer Tracy, Gregory Peck, and Fredric March all passed on the role of Neff.$^{:134}$ Wilder scraped "the bottom of the barrel" and approached George Raft. Since Raft did not read scripts, Wilder described the plot. Raft interrupted, "Let's get to the lapel bit...when the guy flashes his lapel, you see his badge, you know he's a detective." Since Neff was not a cop, Raft turned the part down.$^{:117}$ This was the last in a series of films Raft declined which turned out to be classics. Wilder realized the part needed someone who could play a cynic and a nice guy simultaneously.$^{:134}$
Fred MacMurray was accustomed to playing "happy-go-lucky good guys" in light comedies. In 1943, he was the highest-paid actor in Hollywood. When Wilder approached him about the role, MacMurray said, "You're making the mistake of your life!" He felt he lacked the skill for a serious part,$^{:61}$ but Wilder pestered the actor until he relented. MacMurray felt Paramount would never let him play a "wrong" role, because the studio carefully crafted his image. Paramount let him take the unsavory role, hoping to teach him a lesson during negotiations for his contract renewal.$^{:202–3}$ MacMurray's success in the role came as a surprise to both him and Paramount; he later recalled that he "never dreamed it would be the best picture [he] ever made."$^{:118}$
Edward G. Robinson was reluctant to step down to third billing as Barton Keyes, reflecting that "At my age, it was time to begin thinking of character roles, to slide into middle and old age with the same grace as that marvelous actor Lewis Stone". Robinson agreed to take the role in part because he would receive the same salary as the two leads for fewer shooting days.$^{:135}$
For Jean Heather as Lola it was her credited first film role, for Byron Barr as Nino it was his first film role ever, and for Tom Powers as Mr. Dietrichson it was his first film role since 1917.

### Filming

Filming ran from September 27 to November 24, 1943. John F. Seitz was the premier director of photography at Paramount, having worked since the silent era. Seitz was nominated for an Academy Award for Wilder's Five Graves to Cairo (1943). The director praised Seitz's willingness to experiment. They gave the film a look reminiscent of German expressionist cinema, with dramatic deployment of light and shadows. Wilder recalled, "Sometimes the rushes were so dark that you couldn't see anything. He went to the limits of what could be done."$^{:206}$ Bright Southern California exteriors contrasted with gloomy interiors to suggest what lurked beneath the facade. The effect was heightened by dirtying up the set with overturned ashtrays and blowing aluminum particles into the air to simulate dust.$^{:63}$
Seitz used "Venetian blind" lighting to simulate prison bars trapping the characters. Barbara Stanwyck reflected that "the way those sets were lit, the house, Walter's apartment, those dark shadows, those slices of harsh light at strange angles – all that helped my performance. The way Billy staged it and John Seitz lit it, it was all one sensational mood."
For Neff's office at Pacific All Risk, Wilder and set designer Hal Pereira copied the Paramount headquarters in New York City as an inside joke at the studio's expense.$^{:207}$
Stanwyck wears a blonde wig "to complement her anklet...and to make her look as sleazy as possible." Paramount production head Buddy DeSylva did not approve of the wig, remarking that "We hired Barbara Stanwyck, and here we get George Washington."$^{:135}$ In response, Wilder insisted that the wig was "meant to show that she's a phony character and that all of her emotions are fraudulent". A week into filming, Wilder came to consider the wig a mistake, but too much of the film had been shot to remove it; he later referred to the use of the wig as the biggest mistake of his career.$^{:62}$
Edith Head designed Barbara Stanwyck's costumes.$^{:77}$ Her designs focus on bias-cut gowns, blouses with wide sleeves, and the waistline. Shoulder pads were the style of the 1940s, but they also accentuated the femme fatale's power. In Stanwyck's death scene, her wig and white jumpsuit contrast with Neff's dark suit, creating a chiaroscuro effect.$^{:75}$
When Phyllis and Walter dump the corpse on the tracks, they were supposed to get in their car and drive away. The crew shot the scene as written. As Wilder left the exterior location, however, his car would not start. He ordered the crew back and reshot the scene with Phyllis struggling to start her car. Wilder insisted MacMurray turn the ignition so slowly that the actor protested.$^{:175–6}$$^{:116}$
Wilder managed to bring the whole production in under budget at $927,262 despite $370,000 in salaries for just four people: $100,000 each for MacMurray, Stanwyck, and Robinson; $44,000 for Wilder's writing plus $26,000 for his directing.$^{:211}$ Wilder considered Double Indemnity his best film because it had so few scripting and shooting errors. He marked Cain's praise for Double Indemnity and Agatha Christie's praise for his adaptation of Witness for the Prosecution as two high points in his career.

### Original ending

The screenplay ends with Keyes watching Neff's execution in the gas chamber. Wilder shot the scene from Neff's perspective, looking out of the gas chamber at Keyes. Wilder shot for five days and spent $150,000 on the scene, which he felt was one of the best he ever directed. Production stills of this scene exist, and the footage may still be in Paramount's vaults.
However, the director ultimately decided to end the film with Keyes and Neff in their office, because "You couldn't have a more meaningful scene between two men...The story was between the two guys."$^{:180}$ Chandler objected to the change.$^{:137–8}$ Joseph Breen felt the execution was "unduly gruesome", and its removal settled his office's last issue with the film.$^{:118}$

### Music

Wilder liked Miklós Rózsa's work on Five Graves to Cairo and hired him to score Double Indemnity. Wilder suggested a restless string figure to reflect the conspiratorial activities of Walter and Phyllis. He had in mind the opening of Franz Schubert's Unfinished Symphony, which is heard onscreen in the scene at the Hollywood Bowl. Rózsa liked the idea, and Wilder was enthusiastic about the score as it took shape.$^{:210–11}$$^{:119}$
Paramount's music director Louis Lipstone reprimanded Rózsa for writing "Carnegie Hall music"; Rózsa mistook this as a compliment. Lipstone suggested he watch Madame Curie to learn how to properly score a film. He felt Rózsa's music was more appropriate for The Battle of Russia.$^{:210–11}$$^{:121}$ He expected Paramount's artistic director Buddy DeSylva to agree, but when DeSylva heard the music, his only note was that there should be more of it.$^{:122}$ The score was nominated for an Academy Award, and the success brought Rózsa more studio work.$^{:122}$

### Locations

Exterior shots of the Dietrichson house in the film were shot at a Spanish Colonial Revival house on 6301 Quebec Drive in Beachwood Canyon. The production team copied the interior of the house, including the spiral staircase, on a Paramount soundstage.
The Southern Pacific Railroad station in Burbank was used in the film with a prop sign for Glendale; the site now hosts the Burbank Metrolink station. Walter Neff's apartment building was located at 1825 North Kingsley Drive in Hollywood, and the Hollywood & Western Building also appears in the film.

## Release

Double Indemnity's first theatrical engagement was at the Keith's in Baltimore on July 3, 1944; the film opened nationwide three days later. It was an immediate hit with audiences despite a campaign against the film by singer Kate Smith.$^{:213}$ James M. Cain recalled that "there was a little trouble caused by this fat girl, Kate Smith, who carried on a propaganda asking people to stay away from the picture. Her advertisement probably put a million dollars on its gross."
When Double Indemnity was released, David O. Selznick was promoting Since You Went Away with trade magazine ads that claimed its title had become "the four most important words uttered in motion picture history since Gone with the Wind." Wilder riposted with an ad of his own claiming that "Double Indemnity" were the two most important words uttered in motion picture history since Broken Blossoms. Selznick was not amused, and threatened to stop advertising in any of the trades if they continued to run Wilder's ads.$^{:212–3}$

## Reception
### Reviews

Contemporary reviews of the film were largely positive, though its content made some uncomfortable. While some critics found the story implausible and disturbing, others praised it as an original thriller. In The New York Times, Bosley Crowther called the picture "Steadily diverting, despite its monotonous pace and length." He complained that the two lead characters "lack the attractiveness to render their fate of emotional consequence", but also felt the movie possessed a "realism reminiscent of the bite of past French films".$^{:139}$
Film critic and author James Agee reviewed it in 1944: "In many ways Double Indemnity is really quite a gratifying and even a good movie, essentially cheap I will grant, but smart and crisp and cruel..." New York Herald Tribune's Howard Barnes wrote it was "one of the most vital and arresting films of the year", praising Wilder's "magnificent direction and a whale of a script". Variety felt it "sets a new standard for screen treatment in its category".$^{:139}$
Radio host and Hearst paper columnist Louella Parsons said, "Double Indemnity is the finest picture of its kind ever made, and I make that flat statement without any fear of getting indigestion later from eating my words."
The Brooklyn Eagle was highly complimentary, "Besides MacMurray, who shows up as a top flight dramatic actor in a role that is a new type for him, and Miss Stanwyck, who has never given a more striking performance, 'Double Indemnity' has a third standout star, Edward G. Robinson, in his best role in many a film....By the way, there's no need to warn the teenagers away from this one; they wouldn't skip it in any case, and besides, 'Double Indemnity' makes it beautifully clear that murder doesn't pay—and certainly the insurance company doesn't, without sharp investigation."
In the Los Angeles Times, Philip K. Scheur ranked it with The Human Comedy, The Maltese Falcon, and Citizen Kane as Hollywood trailblazers. Alfred Hitchcock wrote to Wilder saying, "Since Double Indemnity, the two most important words in motion pictures are 'Billy' and 'Wilder'."
The film's critical reputation has only grown over the years. In 1977, Leslie Halliwell raved, "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." In a 1998 review for his "Great Films" series, Roger Ebert wrote, "The photography by John F. Seitz helped develop the noir style of sharp-edged shadows and shots, strange angles and lonely Edward Hopper settings." Film critic Pauline Kael: "...this shrewd, smoothly tawdry thriller is one of the high points of 40s films."
In Empire, Rob Fraser enthused, "Film noir at its finest, a template of the genre, etc. Billy Wilder in full swing, Barbara Stanwyck's finest hour, and Fred MacMurray makes a great chump."
The film holds a 97% on Rotten Tomatoes based on 105 reviews. It scores 95/100 based on 18 reviews on Metacritic.

### Accolades

| Award | Category | Nominee(s) | Result |
| Academy Awards | Best Motion Picture | Paramount Pictures | Nominated |
| Academy Awards | Best Director | Billy Wilder | Nominated |
| Academy Awards | Best Actress | Barbara Stanwyck | Nominated |
| Academy Awards | Best Screenplay | Billy Wilder and Raymond Chandler | Nominated |
| Academy Awards | Best Cinematography – Black and White | John F. Seitz | Nominated |
| Academy Awards | Best Scoring of a Dramatic or Comedy Picture | Miklós Rózsa | Nominated |
| Academy Awards | Best Sound Recording | Loren Ryder | Nominated |
| National Film Preservation Board | National Film Registry | National Film Registry | Inducted |
| New York Film Critics Circle Awards | Best Director | Billy Wilder | Nominated |
| New York Film Critics Circle Awards | Best Actress | Barbara Stanwyck | Nominated |
| Online Film & Television Association Awards | Film Hall of Fame: Productions | Film Hall of Fame: Productions | Inducted |
Filmed and released during the dark days of World War II, the film was not popular with the Academy. Wilder went to the awards ceremony expecting to win. The studio had been backing its other big hit of the year, Leo McCarey's Going My Way, and their employees were expected to vote for the studio favorite. As Double Indemnity kept losing during the awards show, it became evident that there would be a Going My Way sweep. When McCarey was named Best Director, a bitter Wilder tripped him on his way to accept the award.$^{:140}$ After the ceremony, Wilder yelled so everyone could hear him, "What the hell does the Academy Award mean, for God's sake? After all – Luise Rainer won it two times. Luise Rainer!"$^{:123}$

### Legacy

The U.S. Library of Congress selected Double Indemnity for preservation in the National Film Registry in 1992.
American Film Institute included the film on several lists:
* 1998: AFI's 100 Years ... 100 Movies, #38
* 2001: AFI's 100 Years ... 100 Thrills, #24
* 2002: AFI's 100 Years ... 100 Passions, #84
* 2003: AFI's 100 Years ... 100 Heroes and Villains, #8 Phyllis Dietrichson
* 2007: AFI's 100 Years ... 100 Movies (10th Anniversary Edition), #29
Double Indemnity is often referenced as one of the greatest films of all time:
* Time Out: Top 100 films of all time, #43 (1998).
* Entertainment Weekly: 100 Greatest Movies of All Time, #50 (1999).
* National Society of Film Critics: "Top 100 Essential Films of All Time", #29 (2002).
* Time: All-Time 100 best movies (2005).
* Writers Guild of America: Greatest Screenplays, #26.
* BBC: "100 Greatest American Films", #35 (2015).
* Variety: "The 100 Greatest Movies of All Time" (2022).
* Time Out: "100 Best Movies of All Time That You Should Watch Immediately" (2023).

## Film noir

Double Indemnity is a seminal example of film noir. It is often compared with Wilder's other acclaimed film noir Sunset Boulevard (1950). Film scholar Robert Sklar explains, "[T]he unusual juxtaposition of temporalities gives the spectator a premonition of what will occur/has occurred in the flashback story...Besides Double Indemnity and Detour, voice-over is a key aspect of Mildred Pierce, Gilda, The Lady from Shanghai, and Out of the Past...as well as many others." Critic and writer Wendy Lesser notes that the narrator of Sunset Boulevard is dead before he begins narrating, but in Double Indemnity, "the voice-over has a different meaning. It is not the voice of a dead man...it is...the voice of an already doomed man."
Wilder claimed that "I never heard that expression film noir when I made Double Indemnity...I just made pictures I would have liked to see. When I was lucky, it coincided with the taste of the audience. With Double Indemnity, I was lucky."

## Adaptations

The Screen Guild Theater twice adapted Double Indemnity as a radio drama. Fred MacMurray and Barbara Stanwyck reprised their roles in the first broadcast on March 5, 1945. Stanwyck appeared again on the February 16, 1950 version, this time opposite Robert Taylor.
On October 15, 1948, Ford Theatre produced another radio adaptation with Burt Lancaster and Joan Bennett. Lux Radio Theater broadcast one with MacMurray and Stanwyck on October 30, 1950.
The movie was remade as a television film, with direction by Jack Smight and a teleplay adapted by Steven Bochco. It aired on ABC on October 13, 1973.
Double Indemnity is parodied in 1993's Fatal Instinct. The hero's wife conspires to have him shot on a moving train and fall into a lake so that she can collect on his insurance, which has a "triple indemnity" rider. Carol Burnett parodied the film as "Double Calamity" on The Carol Burnett Show.

## Imitators

After the success of Double Indemnity, imitators were rampant. In 1945, Producers Releasing Corporation, one of the B movie studios of Hollywood's Poverty Row, financed Single Indemnity starring Ann Savage and Hugh Beaumont. Marketed as Apology for Murder, Paramount was not fooled by the title change and obtained an injunction against the film's release that still remains in effect.
So many imitations flooded the market that Cain believed he deserved credit and remuneration. Cain was also disaffected about the extortionate practices of the film studios which could pay writers thousands of dollars for a copyright and earn millions from the resulting movie. He led a movement within the Screen Writers Guild to create the American Author's Authority, a union that would own its members' works, negotiate better subsidiary deals, and protect against copyright infringement. The AAA never got off the ground, partially due to the growing momentum of the Red Scare.