A lot has been written about Wilder (including on this blog, here and here), but as classic film buffs know, it's with good reason. Wilder's consistency, wit, and dry-eyed romanticism made him a giant among audiences, peers, and generations of aspiring screenwriters (his most famous contemporary torch-bearer being Cameron Crowe, writer-director of Jerry Maguire and Almost Famous). An Austrian Jew smart enough to see the Nazi writing on the wall in 1933, Wilder left Europe for Hollywood and soon carved out a career as a highly successful screenwriter, co-writing Midnight, Ninotchka, and Ball of Fire before becoming one of the sound era's original crop of writer-directors (joining Preston Sturges, Orson Welles, and John Huston).
Double Indemnity was only Wilder's third Hollywood picture as a director, following the diverting Ginger Rogers vehicle, The Major and the Minor (1942), and the underrated WWII thriller, Five Graves to Cairo (1943). Turns out the third time was the charm, as Double Indemnity became the first of a string of indisputably great classic movies that would include Sunset Boulevard, Some Like It Hot, and The Apartment, to name only a few. Like those other films, Double Indemnity represents a kind of cinematic perfection that most filmmakers rarely achieve once, much less the half dozen or so times Wilder and his collaborators managed.