Double Indemnity is often considered as a film that set a certain standard for film noir. If this is true, then we
should expect that the film displays all the core traits of a film noir. But does it? How well does Double
Indemnity align with the core traits of a film noir as discussed by Booker in his online article on the genre?
The following are Booker’s proposed core characteristics of film noir. Pick one or two of them and apply them
(i.e. compare and contrast) to Double Indemnity. Write at minimum of three well-developed, error-free
paragraphs.

1. The noir protagonist, typically male, is an unconventional hero. Sometimes he is seriously flawed, even evil
   or psychotic. Often, he is unusually violent or misogynistic. Sometimes he is simply an ordinary person who is
   thrust into extraordinary circumstances with which he is ill equipped to deal. Often, he is weak or ineffectual,
   confused and lost, particularly at the mercy of women. When he is strong and effective, he tends to be so on
   his own terms, often following his own moral code that differs substantially from the societal norm.
2. Women in film noir are often represented in stereotypical ways: the conniving bad girl and the virtuous good
   girl are the most common types, often placed in the same film in opposition to one another, perhaps competing
   for the affections of the same man. In many cases, though, noir women are actually far more complex than the
   classic Hollywood norm; they can be quite strong and capable (often more so than the male protagonist), but
   they sometimes have a tendency to use these characteristics to the detriment of the male protagonist, in which
   case they are usually given the label “femme fatale” (“fatal, or deadly, woman”). In a number of noir films,
   though, a woman character is the protagonist, and in this case she tends to be more virtuous than the femme
   fatale, though social pressures often force her into ruthless or unscrupulous actions