Why so much hype?

Just what I expected

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The acting in this movie is really good.

If you are a noir fan then this film is an absolute must see. The screenplay itself is a work of art in its character construction, plot structure and dialogue which is delivered by an ensemble of first class actors divying up first class performances. Barbra Stanwyck as the deadly, smouldering, scheming Phyllis Dietrichson turns in a performance that is right up there with Mary Astor's Brigid O'Shaughnessy. Fred McMurray delivers a performance of a smart but desperately lovelorn patsy and Edward G. Robinson is perfect in the role of Barton Keyes and just about steals the moment every time he appears on screen.I personally love a good Noir film and this is right up there with the best of them. Billy Wilder should be proud of this work even though the Academy didn't see it fit to reward him for his efforts, however I personally think this film is an absolute winner.

There is not really much steaming passion here, nothing like what you might expect from a film based upon a story by James M Cain. I have previously noted that Barbara Stanwyck seems a little lacking in this department, despite the odd alluring glance. But it is Fred MacMurray I noticed on this viewing rather unconvincing. Then it occurred to me that we are so used to thinking of Stanwyck's character (maybe even her) as being rather cold and calculating, that we do not notice the similar position of MacMurray. He even says at some point (to himself probably) that he is keen to see if he can beat his own company, more specifically his rather close chum, here played immaculately by Edward G Robinson. Even though this is all told in flashback and much of it in voice over, it is hard to criticise a frame of this remarkable movie of greed, power and deceit. Even though the origin is a Cain short story, Billy Wilder and more significantly, Raymond Chandler have crafted the script and the combination of talents managed to produce a sharp and witty dialogue driven film that can be watched so many times.

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

There have been so many user reviews of this classic and much imitated "film noir" creation, I am tempted to review at least some of the reviews rather than the film, but I won't.If the script is "silly and laughable", as one recent reviewer seriously contends, then the laugh is on the reviewer because some of the dialogue was written deliberately to be comical in places, especially if lines repeatedly begin with the word "suppose". To the contrary, I found the script, written by the director himself and Raymond Chandler, to be very snappy, especially as it was so adeptly brought to life by three of the best in the business, Stanwyck, Robinson, and MacMurray, in no special order. I especially enjoyed Mr. Robinson's bursting soliloquies that underlined his character's extensive knowledge of the risks of the insurance business. Who else but EGR could have succeeded in this amusing exercise so well?As much as I enjoyed the three wonderful lead actors, I also appreciated all of the meticulous details of the director, Billy Wilder, including minor but memorable characters such as the elevator man ("They wouldn't sell me a policy..."), Netty, the Dietrickson's disheveled maid ("They keep the liquor closet locked up." If I were in the employ of this miserable and unlikable couple, I would need an occasional nip myself.), Mr. Jackson, the witness ("I'm a Medford Man--Medford, Oregon."), and Nino Zachetti, the angry young man who bitterly resents how he has been cheated by society but walks away without appreciating just how truly lucky he is. Even the scenes in the food market allowed us an authentic glimpse of everyday life in wartime 1944 Los Angeles, revealing, among other tidbits, that farina packages haven't changed very much in 72 years.The film unfolds as a series of flashbacks with periodic breaks in "present time", including the beginning and the end. As Barton Keyes suggests at one point, the film itself is very neatly "wrapped up in tissue paper...pink ribbons on it." Unlike many other movies of its "noir" genre, it is relatively easy to follow without distracting us with unnecessarily convoluted plots that we didn't have to struggle to understand in the first place.Neff's questionable character is revealed from the start as he has no qualms about destroying a marriage and a family until the presence of Lola, Dietrichson's daughter, challenges his conscience. His fatherly relationship with Lola and then his compassionate assistance to Zachetti, her boyfriend, demonstrates that Neff isn't completely morally depraved as much as he is weak in the face of temptation. Regardless of how disagreeable Dietricksen, his victim, is, Neff can't redeem himself from his crime by being nice to Lola and Zachetti. It is not an even exchange. This exercise in portraying a repentant, moral weakling is refined by the actor a decade later in MacMurray's role of Lt. Tom Keefer in "The Caine Mutiny". Then, MacMurray takes immorality to a new level six years after that in "The Apartment"' as the shamelessly dishonest Jeff Sheldrake, who is totally void of introspection. For those who only know MacMurray as the father in the television series "My Three Sons", you ain't seen nuthin' yet!Although I was fully absorbed in the action, Neff's ability under extraordinary pressure to get Jackson out of the observation car just in the nick of time seemed improbable to me. Didn't he and Phyllis consider the possibility that someone would be out there who was unwilling or even incapable of leaving on time? And wouldn't the coroner have established early that Dietricksen was the victim of strangulation rather than accidental death? I'll leave it to you to decide. And did Phyllis actually undergo a "change of heart" just before she was able to fire a second shot? Should it make a difference to us by then? I think not. Nothing could ever redeem this despicable woman--or that wig.