Füge eine Handlung in deiner Sprache hinzuA lawyer's wife starts an affair with a mobster but is confronted by his other flame who ends up murdered and the adulterous wife is set up to take the blame for the killing.A lawyer's wife starts an affair with a mobster but is confronted by his other flame who ends up murdered and the adulterous wife is set up to take the blame for the killing.A lawyer's wife starts an affair with a mobster but is confronted by his other flame who ends up murdered and the adulterous wife is set up to take the blame for the killing.
Archie Twitchell
- Roger Alison
- (as Michael Branden)
Frank Wilcox
- McKingby
- (Gelöschte Szenen)
Griff Barnett
- Mr. Adams
- (Nicht genannt)
Barbara Billingsley
- Weil
- (Nicht genannt)
Lillian Bronson
- Secretary
- (Nicht genannt)
George M. Carleton
- Attendant
- (Nicht genannt)
James Carlisle
- Member
- (Nicht genannt)
Thaddeus Jones
- Mr. Porterville
- (Nicht genannt)
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The thriller side only appears in the second part ;the first one,the best , is essentially psychological drama : a marriage on the rocks even though the husband does not realize it:when his wife tries to talk it over with him,he soliloquizes and his answer has nothing to do with her woman's concern ; he does not see that she's fascinated by Arnelo's charm (John Hodiak's look is real magnetism );as for the son (played by wunderkind Dean Stockwell,the future star of Fleischer's "compulsion" ) ,when he tinkers about with his dad ,most of the work is "too dangerous" for him ,and the boy has a relevant question:"what are you going to do when I grow up?";also revealing is his dream where everything is made of ice -cream,candy and chocolate ,but his mouth is sewn and he cannot take advantage of it .
Thus the characters are more detailed than the average thriller,and the murder mystery is more run of the mill stuff : the clues , the suspects ,the investigation , all is derivative .But Frances Gilford is pretty and moving , Georges Murphy gives an adequate performance as the indifferent husband obsessed by his nine to five work ;nonetheless,the stand out is arguably Hodiak as the refined and selfish womanizer.
Thus the characters are more detailed than the average thriller,and the murder mystery is more run of the mill stuff : the clues , the suspects ,the investigation , all is derivative .But Frances Gilford is pretty and moving , Georges Murphy gives an adequate performance as the indifferent husband obsessed by his nine to five work ;nonetheless,the stand out is arguably Hodiak as the refined and selfish womanizer.
A relentlessly glum 86-minutes. I don't know who's to blame for Gifford's unrelieved stony face, but it's like she and Hodiak are having a dour-off to see who can be more expressionless. As a romantic couple, they have all the charm and plausibility of robots. Even the usually affable Murphy gets little chance to beguile. Between that and a relentlessly talky script, the movie takes an unfortunate nose-dive into monotony.
The premise is pretty standard crime fare—a neglected wife (Gifford) is drawn from her comfortable shell by a handsome shady character (Hodiak). Since the wife's also a mother, she struggles with the temptation, but is constantly reminded how neglected she is by her lawyer husband (Murphy). Soon a murder connected to Hodiak occurs. Now a potential scandal hangs over the luckless Gifford's and her attempt break with the heartless Hodiak.
Writer-director Oboler was an interesting talent. His background in radio, however, shows up in the talky script. But he was also capable of fascinating flashes of imagination as in the post-apocalyptic Five (1951) and the psychodrama Bewitched (1945). I suspect he was hemmed in here by requirements from the notoriously conservative MGM. Thanks to that airbrushed studio, we can't even be sure there was an actual affair between the wife and the practiced seducer. That way, the wayward wife doesn't have to be punished more than she is, and audiences could go home feeling good.
Too bad RKO didn't produce this. That way, Oboler might have been drawn in a noirish direction, which the material richly deserves. Anyway, only the presence of sassy cynic Eve Arden and canny kid Dean Stockwell lend the film any spark. I especially like that scene with dad Murphy and son Stockwell fixing the broken stool. That showed needed life and imagination. Too bad the rest of the movie doesn't.
The premise is pretty standard crime fare—a neglected wife (Gifford) is drawn from her comfortable shell by a handsome shady character (Hodiak). Since the wife's also a mother, she struggles with the temptation, but is constantly reminded how neglected she is by her lawyer husband (Murphy). Soon a murder connected to Hodiak occurs. Now a potential scandal hangs over the luckless Gifford's and her attempt break with the heartless Hodiak.
Writer-director Oboler was an interesting talent. His background in radio, however, shows up in the talky script. But he was also capable of fascinating flashes of imagination as in the post-apocalyptic Five (1951) and the psychodrama Bewitched (1945). I suspect he was hemmed in here by requirements from the notoriously conservative MGM. Thanks to that airbrushed studio, we can't even be sure there was an actual affair between the wife and the practiced seducer. That way, the wayward wife doesn't have to be punished more than she is, and audiences could go home feeling good.
Too bad RKO didn't produce this. That way, Oboler might have been drawn in a noirish direction, which the material richly deserves. Anyway, only the presence of sassy cynic Eve Arden and canny kid Dean Stockwell lend the film any spark. I especially like that scene with dad Murphy and son Stockwell fixing the broken stool. That showed needed life and imagination. Too bad the rest of the movie doesn't.
The Arnelo Affair has John Hodiak in the title role of a nightclub owner with tax troubles getting an affair going with his lawyer's wife Frances Gifford.
Frances is a woman with an itch and Hodiak is quite willing to scratch it. But as it turns out he's doing a bit of two timing himself on actress Joan Woodbury. Later on when Woodbury is murdered Hodiak is on the short list of Detective Warner Anderson suspects, but so is Gifford.
This film is a great example of the Code strangling the creativity of film making. Today it would be quite explicitly filmed with proper sex scenes in their place.
George Murphy played Gifford's husband and his is a strangely underwritten role. If I were doing the film and being that Hodiak is having tax troubles, when Murphy does find out there are hundreds of creative ways he could have done Hodiak good and proper.
Eve Arden is in the film in an Eve Arden part. Though in this one she's sporting a hint of jealousy that Hodiak isn't giving her a tumble. That too should have been brought out more.
The Arnelo Affair if someone decides to remake it has lots of room for improvement.
Frances is a woman with an itch and Hodiak is quite willing to scratch it. But as it turns out he's doing a bit of two timing himself on actress Joan Woodbury. Later on when Woodbury is murdered Hodiak is on the short list of Detective Warner Anderson suspects, but so is Gifford.
This film is a great example of the Code strangling the creativity of film making. Today it would be quite explicitly filmed with proper sex scenes in their place.
George Murphy played Gifford's husband and his is a strangely underwritten role. If I were doing the film and being that Hodiak is having tax troubles, when Murphy does find out there are hundreds of creative ways he could have done Hodiak good and proper.
Eve Arden is in the film in an Eve Arden part. Though in this one she's sporting a hint of jealousy that Hodiak isn't giving her a tumble. That too should have been brought out more.
The Arnelo Affair if someone decides to remake it has lots of room for improvement.
This movie is unsuccessful as a noir, a crime drama -- as anything, really.
John Hodiak is always compelling, though he isn't a convincing villain here. George Murphy is barely adequate.
Frances Gifford -- whose bio I just read here, and who had a tragic life -- is very beautiful but directed to act as if in a coma.
Even Eve Arden's quips fall uneasily flat in this context.
The best performance is given by Dean Stockwell, as the strangely troubled child Murphy and Gifford profess to adore but who seems to be ignored by his father and to have an extreme affection for his mother.
John Hodiak is always compelling, though he isn't a convincing villain here. George Murphy is barely adequate.
Frances Gifford -- whose bio I just read here, and who had a tragic life -- is very beautiful but directed to act as if in a coma.
Even Eve Arden's quips fall uneasily flat in this context.
The best performance is given by Dean Stockwell, as the strangely troubled child Murphy and Gifford profess to adore but who seems to be ignored by his father and to have an extreme affection for his mother.
In The Arnelo Affair, the letter `A' keeps cropping up again and again - as a monogram on a dressing gown, a compact, a key. Ostensibly it signifies one of the two main characters: Tony Arnelo (John Hodiak ), a predatory nightclub owner, or Ann Parkson (Frances Gifford), wife of Arnelo's square-rigger of an attorney (George Murphy). But really the `A' serves to remind us that the story is chiefly about the Scarlet Letter of Adultery - the Affair of the title.
The movie's sinister, noirish elements are not quite an afterthought, but almost. During the first half of the movie, ignored and restive, Gifford sulks nobly in the household she shares with Murphy, forever working late on his legal briefs, and her nine-year-old son (Dean Stockwell) who thinks he could benefit from psychoanalysis. (She, however, may be a riper candidate for the couch, given as she is to swoons and passive-aggressive feigned headaches.)
When smooth-talking Hodiak flatters her and hires her as decorator, she obliges and soon finds herself with the key to his apartment and an inclination to use it for naughtier purposes than updating the chintz. But she soon finds out that Hodiak has many another slip in which to dock his dinghy; and when one of his stable of lady friends is found murdered, Gifford's initialed compact is found with the body. With the prompting of police detective Warner Anderson, Murphy is jolted out of his complacency and sets out to find the truth....
Like The Unfaithful of the same year (a sweetened-up remake of The Letter), The Arnelo Affair seems geared to the women in its audience, more a weeper than a noir. Even the redoubtable Eve Arden, as a dress-designing upstairs neighbor, gets paraded out as much for her eye-popping post-war get-ups as for her trademark mordant lines (and she's a welcome foil to all Gifford's suffering saintliness). The Arnelo Affair holds interest, if slackly; its director, Arch Oboler, hadn't much of a feel for the possibilities inherent in the script or the knack for bringing them out. It's telling that the most memorable characters in the movie are not the principals but Anderson, Arden and the nine-year-old Stockwell.
The movie's sinister, noirish elements are not quite an afterthought, but almost. During the first half of the movie, ignored and restive, Gifford sulks nobly in the household she shares with Murphy, forever working late on his legal briefs, and her nine-year-old son (Dean Stockwell) who thinks he could benefit from psychoanalysis. (She, however, may be a riper candidate for the couch, given as she is to swoons and passive-aggressive feigned headaches.)
When smooth-talking Hodiak flatters her and hires her as decorator, she obliges and soon finds herself with the key to his apartment and an inclination to use it for naughtier purposes than updating the chintz. But she soon finds out that Hodiak has many another slip in which to dock his dinghy; and when one of his stable of lady friends is found murdered, Gifford's initialed compact is found with the body. With the prompting of police detective Warner Anderson, Murphy is jolted out of his complacency and sets out to find the truth....
Like The Unfaithful of the same year (a sweetened-up remake of The Letter), The Arnelo Affair seems geared to the women in its audience, more a weeper than a noir. Even the redoubtable Eve Arden, as a dress-designing upstairs neighbor, gets paraded out as much for her eye-popping post-war get-ups as for her trademark mordant lines (and she's a welcome foil to all Gifford's suffering saintliness). The Arnelo Affair holds interest, if slackly; its director, Arch Oboler, hadn't much of a feel for the possibilities inherent in the script or the knack for bringing them out. It's telling that the most memorable characters in the movie are not the principals but Anderson, Arden and the nine-year-old Stockwell.
Wusstest du schon
- WissenswertesThe address for Arnelo's club, given on his business card as 25 W. Chicago Ave. is a real address, and is the site of the One Chicago twin tower development, consisting mainly of condominiums and apartments that opened in 2022.
- PatzerThe newspaper report of the murder spells the word 'clue' as 'clew'. The use of the word "clew" for "clue" is old British English; a high-brow, literary spelling of the word. It is now considered archaic.
- Zitate
Vivian Delwyn: Aah, the man with the four alarm eyes!
- VerbindungenReferenced in Akvaariorakkaus (1993)
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprache
- Auch bekannt als
- Hemligt möte
- Drehorte
- Art Institute of Chicago - 111 S. Michigan Avenue, Downtown, Chicago, Illinois, USA(Opening shot when Tony Arnelo picks up Anne Parkson in his car)
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 892.000 $ (geschätzt)
- Laufzeit1 Stunde 26 Minuten
- Farbe
- Seitenverhältnis
- 1.37 : 1
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Oberste Lücke
By what name was The Arnelo Affair (1947) officially released in India in English?
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