Hard-boiled dialogue, deep dark shadows, and icy femmes fatales, Arkadin presents the ultimate double-shot of classic film noir.

DOUBLE INDEMNITY

“The greatest film noir of all time…Double Indemnity retains its awesome power and fascination over 70 years since its release. An impressed Alfred Hitchcock, no less, sent Wilder a telegram that read ‘Since Double Indemnity, the two most important words in motion pictures are “Billy” and “Wilder.”‘” -Graeme Ross, The Independent

Has dialogue ever been more perfectly hard-boiled? Has a femme fatale ever been as deliciously wicked as Barbara Stanwyck? And has 1940s Los Angeles ever looked so seductively sordid? Working with cowriter Raymond Chandler, director Billy Wilder launched himself onto the Hollywood A-list with this epitome of film-noir fatalism from James M. Cain’s pulp novel. When slick salesman Walter Neff (Fred MacMurray) walks into the swank home of dissatisfied housewife Phyllis Dietrichson (Stanwyck), he intends to sell insurance, but he winds up becoming entangled with her in a far more sinister way. Featuring scene-stealing supporting work from Edward G. Robinson and the chiaroscuro of cinematographer John F. Seitz, Double Indemnity is one of the most entertainingly perverse stories ever told and the standard by which all noir must be measured.

Detour

“A bona fide low-budget cult classic this one, and all in less than 68 delirious minutes.” -Graeme Ross, The Independent

From Poverty Row came a movie that, perhaps more than any other, epitomizes the dark fatalism at the heart of film noir. As he hitchhikes his way from New York to Los Angeles, a down-on-his-luck nightclub pianist (Tom Neal) finds himself with a dead body on his hands and nowhere to run—a waking nightmare that goes from bad to worse when he picks up the most vicious femme fatale in cinema history, Ann Savage’s snarling, monstrously conniving drifter Vera. Working with no-name stars on a bargain-basement budget, B auteur Edgar G. Ulmer turned threadbare production values and seedy, low-rent atmosphere into indelible pulp poetry. 

THEATER POLICIES

All seats are first-come, first-served.

The theater opens 30 minutes prior to showtime, except for “Happy Hour” events and pre-shows when the theater opens at the listed start time.

All ages are welcome at Arkadin except for Drinkolas Cage events, which are restricted to 21+. We follow the MPAA rating guidelines for all other films.

Tickets can be purchased using the BUY TICKETS link above. Upon ordering, you will receive a confirmation email from Square. Tickets may also be purchased on the day of the show at the concession counter.

If you’ve purchased advance tickets, when you arrive, please give your name at the concession counter to check in.

Tickets are returnable by sending a request through the contact form located on our About Us page prior to showtime.

When an event is sold out, we reserve the right to release open seats to customers on the waitlist. If you have a pre-purchased ticket and arrive late and there is no seat for you, your ticket will be refunded.

All screenings are held in our indoor theater unless indicated otherwise in the event description above.

Please respect your fellow movie-goers by remaining quiet and refraining from using your cell phone throughout the screening.