NEW ULM — Take a stroll on the grim and gritty side of human nature for a special screening of “Double Indemnity” Tuesday at the New Ulm Library.

“Double Indemnity” is the first film in the New Ulm Film Society’s film noir series, and few films fit the genre better.

“Double Indemnity” is a crime drama about an insurance salesman, Walter Neff (Fred MacMurray), who schemes with a housewife, Phyllis Dietrichson (Barbara Stanwyck), to knock off her husband and collect a large life insurance claim. If the husband dies in a train-related accident, this will trigger a double indemnity clause and payout double.

Of course, the couple’s plan does not go as expected. Neff’s partner, the claims adjustor Barton Keyes (Edward G. Robinson), suspects foul play. Neff and Dietrichson find out keeping their crimes covered might not be possible.

“Double Indemnity” is a key part of the film noir genre. Some critics have even called it the first film noir. Among film critics there is no consensus on what defines this genre, but “Double Indemnity” is universally considered one of the best examples.

“Double Indemnity” was not marketed as a film noir in 1944. The film was intended as a crime drama, thriller or melodrama. The term film noir was applied after the fact to a series of American films featuring similar traits and themes.

Film noir typically centers around crime and is told in a stylized manner, possibly with exaggerated lighting, and usually contains themes of morality, pessimism or fatalism. The genre was first applied to detective films.

“Double Indemnity” matches this description almost perfectly with the main plot about committing murder for insurance payoff. The contrast of light and darkness emphasizes the wants and desires of characters but also highlights wicked turns. The detective, in this case, is a claims adjuster, but the common themes are all present.

“Double Indemnity” is also remembered for its dialogue between Neff and Dietrichson. The script was written by director Billy Wilder and Raymond Chandler and is adapted from a book by James M. Cain. Chandler is famous for his detective novels. His novel “The Big Sleep” would be adapted into a film in 1946. By combining Cain’s original prose and Chandler’s additions, Wilder was able to create a film that sounds as good as it looks.

“Double Indemnity” is unique in Hollywood because the audience were forced to sympathize with a murderer. Neff would be an antagonist in most films. He’s only the protagonist because we see the film from his perspective and Mrs. Dietrichson is far worse.

The character of Phyllis Dietrichson is considered one of the greatest film villains of all time. Stanwyck’s performance as Mrs. Dietrichson earned her an Oscar nomination. The American Film Institute ranked her among the top ten screen villains of all time.

The character Stanwyck created helped create the archetype for the “femme fatale,” which became common in film noir. Nearly every film noir includes at least one female character lying to or manipulating the main character. In “Double Indemnity,” there is a question over whether Dietrichson’s manipulations even work, or if Neff is drawn to crime for other reasons.

The film is told as a flashback. The first scene of the film has Neff narrating the story into a dictaphone at his office. Film critic Roger Ebert asked in his review of the film, why does he return to his office at all? Does Neff want to get caught?

“Double Indemnity” features a murder, but it is not a murder mystery. The characters motivations are true motivations.

“Double Indemnity” screens 6 p.m. Tuesday, July 9, at the New Ulm Public Library.