The Film Noir genre is the product of the 1940s and reflects the darkest attitude of society, representing depression, realism and amplifying a new dynamic for women on screen. As World War II progressed, less money was accumulating in Hollywood. The little money raised influenced the creative drive of the directors in how they were able to produce their films. The lower budget affected the money to be spent on lighting, sets, costumes, as well as providing payment for extras appearing in scenes. In addition to the limitation of money, the realism presented in this genre expresses reflection on the darker tones of 1940s society. While the war was active, many experienced turmoil in their personal lives. Serious situations that aroused emotions were nearby. In particular, the dynamic on-screen character of the femme fatale has become a highly essential element in Hollywood. The film noir genre depicting the darkest moods has produced an emergent, functional femme fatale who thrives on an interesting, sensual, dangerous, and seductive being for viewers to follow. The first film to mark this genre became known with the film Double Indemnity directed by Billy Wilder with Barbara Stanwyck, Fred MacMurray and Edward G. Robinson. The following films that will join this surprising new genre have been very different. However, three films The Big Sleep, The Postman Always Rings Twice and Gilda all contribute to the promise of film noir atmosphere. These three films are compared to Double Indemnity for observation in their style, characters and story. The Big Sleep, released in 1946, embarks on the character Phillip Marlowe played by Humphrey Bogart and the femme fatale Vivian Rutledge played by Lauren Bacall. The story revolves around crime, mur... in the center of the card... the first appearances of the tales are both dressed in white. Cinematically, the inner shadow details in scenes mimic each other but inflict different moods. Finally, Gilda may have had some creative inspiration over Double Indemnity. Gilda has taken the art of shadows but enhances the charm and interaction with the characters. This film also has a relatable story with the femme fatales both trying to thwart an unwanted marriage. Gilda and Phyllis both make their first appearances in white dresses. The characteristics of these femme fatales vary depending on their environment. For example, there are more men surrounding Gilda than Phyllis has access to, which influences their motivations. Each of these three noir films respectively compares to Double Indemnity in their own way, but they are unique enough to offer a variety of entertainment for audiences to enjoy..