The distinctly Noir feel present throughout the film Double Indemnity is at its most potent at the climax of the story, when Walter has his final confrontation with Phyllis (1:37:40-1:40:30). Film noir is typified by an environment filled with crime and darkness, typically leaving the viewer uncertain about the characters and their morals. The use of lighting and camera spacing in Double Indemnity‘s uniquely Noir ending emphasizes the severity and darkness of the actions of the characters throughout the rest of the film. Lighting in the film is representative of motives, while the spacing shows a character’s power. These aspects come together to make the viewer feel ill at ease, as our main character is shown to be very powerful while also very morally ambiguous.
The first thing the viewer notices in the concluding scene of Double Indemnity is the characters’ positioning within the camera lens. During the majority of the shot, Walter takes up significantly more screen space than Phyllis or even the background. Walter’s imposing figure shows that he is in control of the situation, and his large stature shows the power that he wields to act on his criminal intentions. We also only see the back side of Walter through crucial portions of the scene, such as when Walter kills Phyllis. We cannot see his face, further increasing the ambiguity of his actions. Walter has Phyllis caught in his trap during this scene, and the overbearing nature of his figure makes it that much easier for the viewer to see his dark intentions. The only portion of this time frame in which Phyllis dominates the largest part of the screen is while she is laying out her own plot to manipulate Nino. This is an action she had complete control over and her autonomy appears to the viewer through the cinematography.
Despite the significance of camera spacing in Double Indemnity, lighting is significantly more important to the overall Noir feel. The dimmed lighting on Walter throughout the entirety of the scene adds to the menacing nature of his character and his actions. The darkness on his body demonstrates to the viewer that his intentions are ambiguous at this point, and as a creature of the night, he is very likely to do something immoral. Phyllis on the other hand remains completely illuminated in high-key light, showing how trapped she is in this situation, as the entirety of her actions, motivations, and feelings have been laid bare. While detracting from the mysterious (and distinctly Noir) femme fatale characterization of Phyllis, this choice of lighting puts significantly more emphasis on Walter’s sinister nature. Such a stark contrast creates a Noir feeling greater than anything lost in eroding the mystery surrounding Phyllis.
Even without the aforementioned elements, Double Indemnity is no doubt a film noir just by virtue of its plot. Nonetheless, the movie has remained a classic due to the excellent cinematography it features. Atmosphere is of paramount importance in film noir. While a comedy is still a comedy even with poor direction, the same cannot be said of film noir. The ability of Double Indemnity to play to Noir tropes so well is the reason it continues to hold a position of such high regard in film circles.