Double Indemnity Scene Analysis Double Indemnity (1944) can be considered to be one of the films most representative of American film noir. Double Indemnity (1944) is the story of a woman, Phyllis Dietrichson, who has manipulated her way into marriage with a wealthy man, Mr. Dietrichson, and subsequently conspires with an insurance salesman, Walter Neff, to help kill her husband. Under the premise of being concerned for her husband's safety, Phyllis takes out an accident insurance policy, which is guaranteed to pay her at least $50,000 in the event of Mr. Dietrichson's untimely death. When Walter informs Phyllis that she can get $100,000 from the insurance policy if her husband dies in a rare accident, such as an accident involving a train, because of a double indemnity clause in the policy, the nefarious duo decide to concoct a plan that will make it appear as though Mr. Dietrichson fell to his death from a moving train, thus allowing Phyllis to claim $100,000. Through its mise-en-scene, Double Indemnity (1944) is able to create an atmosphere of paranoia, entrapment, seduction, and unease.

Billy Wilder, who along with renowned author Raymond Chandler, wrote the screenplay for the film, directed Double Indemnity (1944). In film, a director is responsible for leading "the actors in performance, determines the staging of the action, supervises all aspects of shooting, and works with the producer, writer, and designer before production and with the film and sound editors after production to ensure consistency and excellence of the movie as well as the best possible use of personnel, materials, and resources provided by the producer" (Mast & Kawin, 2003, p. 681). As a director, Wilder directed 27 films, from 1934 to 1981 (Billy Wilder, 2012).

The art director is someone who is responsible with designing a film's sets and deciding a film's decor (Mast & Kawin, 2003, p. 678). Double Indemnity (1944) had two art directors: Hans Dreier and Hal Pereira. Hans Dreier worked as an art director on at least 533 films and Hal Pereira worked as an art director on 267 films (Hans Dreier, 2012; Hal Pereira, 2012).
A production designer works with the art director to create a cohesive look for a film. A production designer can be defined as "an art director responsible for designing the complete look of a film, coordinating and integrating its sets, dressings, props, costumes, and color schemes" (Mast & Kawin, 2003, p. 687). While there is no production designer listed for Double Indemnity (1944), it is likely that Dreier and/or Pereira also fulfilled this role.

In the scene titled "End of the Line," lighting, setting, and costuming play a major role in setting the tone for the scene and help to provide insight into Phyllis's and Walter's character. In this scene, Walter confronts Phyllis after the murder of her husband to talk about how she has enabled him to get away with murder because she has inadvertently involved her stepdaughter's on-again-off-again boyfriend, Nino Zachetti, in the conspiracy to cover up Mr. Dietrichson's murder. While at the beginning of the conspiracy, Walter and Phyllis were bound to each other through their involvement in Mr. Dietrichson's death, the police investigating Mr. Dietrichson's death have begun to suspect Nino of conspiring with Phyllis to murder her husband, thus removing suspicion from Walter. Walter uses this as an opportunity to confront Phyllis and tell her that he is removing himself from the situation and that she and Nino will be implicated in Mr. Dietrichson's death, instead of he and Phyllis.

In this scene, the use of lighting helps to establish mood. This scene is vastly different in terms of lighting from the first time Phyllis and Walter meet. The first time Phyllis and Walter meet, when Walter first comes to the Dietrichson home to renew their car insurance policy, the room in which the two talk is well lit and it is daytime. However,…