As an update of EVELYN PRENTICE, THE ARNELO AFFAIR is a perfect example of post-war films meant to reinforce the notion that a woman should be happy at home. If she strays too far from the nest, she will get embroiled in dangerous activities that threaten to destroy the sanctity of her marriage and may put her in jail. Scare tactics to say the least, and people paid money to see it.
In this instance, the wife is portrayed by MGM contractee Frances Gifford. She is a beautiful stay-at-home specimen who looks after a young son (Dean Stockwell) while hubby George Murphy goes out and brings home the bacon.
To occupy her time while her husband is at the office and her son is at school, Gifford does what most housewives of the period do...she goes shopping, plays bridge and gets caught up on gossip with her best pal (Eve Arden). Arden's character often puts a satiric spin on the proceedings, preventing the film from becoming too overwrought and ensuring it stay light in the right places.
However, none of her domestic life is too fulfilling for lonely Miss Gifford. It is no wonder when, a short time later, she catches the eye of criminal rogue John Hodiak, that she starts to enjoy the attention he gives her. Mainly because it's much-needed attention she no longer receives from workaholic Murphy.
John Hodiak gives a good performance as the bad guy. He conveys just the right amount of suavity and menace. Mr. Hodiak was on a winning streak at this time, becoming a reliable presence in noir such as Fox's SOMEWHERE IN THE NIGHT and Paramount's DESERT FURY.
One thing I especially like about THE ARNELO AFFAIR, aside from its polished and convincing acting, is how the melodramatic scenario is reinforced by the highly emotional background music. In addition to the music, director Arch Oboler and cinematographer Charles Salerno light scenes in a way that suggest opulence, shadows and passion.
And as the story unfolds, a focal point is the conflict faced by Gifford's character as she gets in too deep and becomes embroiled in a murder. Though some of it may be predictable, there are plenty of anguished looks and silent pauses for proper effect. Throughout the picture's 86-minute running time, Frances Gifford helps us get a sense of the woman's internal state. There is a moment when she realizes how much her son means to her, which is probably the highlight of the film. She is reminded that her most satisfying role in life is not as an adulterer, but as a mother and wife.
I supposed most will say THE ARNELO AFFAIR is ultimately just another spin on the old infidelity tale. But I think it deftly combines the gangster genre with a woman's melodrama, and I find the results most intriguing.
In this instance, the wife is portrayed by MGM contractee Frances Gifford. She is a beautiful stay-at-home specimen who looks after a young son (Dean Stockwell) while hubby George Murphy goes out and brings home the bacon.
To occupy her time while her husband is at the office and her son is at school, Gifford does what most housewives of the period do...she goes shopping, plays bridge and gets caught up on gossip with her best pal (Eve Arden). Arden's character often puts a satiric spin on the proceedings, preventing the film from becoming too overwrought and ensuring it stay light in the right places.
However, none of her domestic life is too fulfilling for lonely Miss Gifford. It is no wonder when, a short time later, she catches the eye of criminal rogue John Hodiak, that she starts to enjoy the attention he gives her. Mainly because it's much-needed attention she no longer receives from workaholic Murphy.
John Hodiak gives a good performance as the bad guy. He conveys just the right amount of suavity and menace. Mr. Hodiak was on a winning streak at this time, becoming a reliable presence in noir such as Fox's SOMEWHERE IN THE NIGHT and Paramount's DESERT FURY.
One thing I especially like about THE ARNELO AFFAIR, aside from its polished and convincing acting, is how the melodramatic scenario is reinforced by the highly emotional background music. In addition to the music, director Arch Oboler and cinematographer Charles Salerno light scenes in a way that suggest opulence, shadows and passion.
And as the story unfolds, a focal point is the conflict faced by Gifford's character as she gets in too deep and becomes embroiled in a murder. Though some of it may be predictable, there are plenty of anguished looks and silent pauses for proper effect. Throughout the picture's 86-minute running time, Frances Gifford helps us get a sense of the woman's internal state. There is a moment when she realizes how much her son means to her, which is probably the highlight of the film. She is reminded that her most satisfying role in life is not as an adulterer, but as a mother and wife.
I supposed most will say THE ARNELO AFFAIR is ultimately just another spin on the old infidelity tale. But I think it deftly combines the gangster genre with a woman's melodrama, and I find the results most intriguing.