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There are some films which are flawed in certain obvious areas yet continue to arrest and sustain the attention of the viewer who, solely on the suspense factor and other technical achievements, is willing to suspend his critical faculties. "The Armelo Affair" (clever, ambiguous, word play in the title) worked for me on many fronts.

Firstly, I enjoy a good "hook" that draws you into the plot line right from the outset. When the stream of consciousness technique is deployed with good effect in tandem with the flashback device, I sense that I am in for a winner. This is a classic "B Grader" that is worthy of commendation. Shot on location in significant areas around Chicago, the masterful cinematography of the relatively unknown Charles Salerno adds an authentic feel and an alluring ambience to the action. The night scenes are executed with deftness and imagination. They capture the heartbeat of the big city with style and authenticity.

There are multi-layered themes at work, here (too many to talk about in this review). The most engaging for me is the theme of the tempter-serpent in the proverbial garden, appearing in the guise of friend but is the instrument of woe in reality. The scenes involving the protagonist and antagonist are handled delicately - one is thoroughly engrossed during those crucial moments especially in the context of the flashback framing device. Screenwriter, Arch Oboler's poignant use of the "cold grapes from a blue ball" analogy resonates powerfully with the forbidden fruit symbolism which adds a further depth of meaning. Although the plotlines of films like these are often predictable, the viewer becomes caught up in trying to anticipate the denouement and resolution.

I concur that Frances Gifford melts away, somewhat, as the action unfolds. George Murphy's character, by contrast becomes stronger. Hodiak (Freddy Mercury forerunner of the 40s?) remains constant and menacing. He is the pulsating force that keeps the film alive. Eve Arden delivers her trademark sardonic one-liners with her usual sense of gusto although it's a tad overdone. The young Dean Stockwell steals the scenes he appears in (with all the promise of his future stardom in evidence).

Incidentally, I am often intrigued by the imagery in John Lennon's classic song, "Lucy in the Sky with Diamonds". Well, young Stockwell's dream (circa 38) may offer one some clues? And finally, how the morality mores have changed over the years with the onset of modernity.

I doubt that there has been a more dramatic, unconventional, opening sequence to a film of the 40s-50s than the one we witness in D. O. E. (later films imitated this technique).

A desperate man strides with urgency through the hallway of a city police station to the accompaniment of Dmitri Tiomkin's haunting musical score. The words he utters to the police captain are simply shocking. The viewer gasps in exasperation barely believing what he has just heard. The famous adage, "Dead Men Tell No Tales" screams out at you. Could the man be insane? Is there a semblance of truth in what he says? This is the paradox upon which the film is premised. This is in fact the famous "hook" that writers were to talk about in later generations when imparting advice to prospective writers - shock your reader or viewer into submission. Told in flashback, the plot opens up layer-by-layer to unravel a tight and compact tale that takes in multi-faceted themes.

Edmond 'O Brien is one of those actors who, once seen (whether as a lead or in many of his supporting roles) is not to be forgotten. He is the heartbeat of this film, delivering a credible and moving performance that engages the viewer's attention at every turn. His determination to fathom the mystery in which he has become, unwittingly, embroiled is played with fiery passion and unwavering resolution. This is certainly one of his finest performances which, in my opinion, surpasses his Oscar winning portrayal in "The Barefoot Contessa".

Among the many themes which emerge, the most profound for me is how the finger of fate and pure chance affects the life of an innocent individual - how as strangers in the big city, our lives can become inextricably interconnected without us knowing it. Two significant moments stand out: the musical cameo at the Fisherman nightclub which evocatively sets the scene for the film's defining moment and O'Brien's desperate race through the streets of San Franciso when he discovers the truth about his precarious situation.

There is a more than capable supporting cast at work, here, except for Pamela Britton who is cardboard- like and unconvincing. The quick-eyed viewer will spot Ivan Triesault as the photographer (a favourite of mine and a well-known face during the 40s - 50s, perhaps most famous as the ruthless Nazi officer in Hitchcock's "Notorious".

An engaging drama in which a high-profile New York lawyer comes up against formidable opponents, headed by the ruthless head of a small-town desert settlement on the west side.

The titular, 'Tattered Dress' serves as a fitting metaphor for the miscarriage and abuse of justice, stripped to its core, to reveal the naked underbelly of multiple themes ranging from murder, revenge, conspiracy, perjury, mob passion, provincialism and prejudice. There is a tender love story as well that plays out against the intrigue that unfolds. All this is packed into this picture which is enhanced by an exciting twist that sees the protagonist cast from successful defence lawyer to accused within a short period of time. At the end of the day, it's a well-crafted script that taps into the unmistakable talents of a very capable cast of stars and a proficient director and production team.

Jeff Chandler plays the big-time, no-nonsense big city lawyer intent on maintaining his undisputable record of winning cases through guile and meticulous craft. The absorbing court room scenes elevate the suspense to a new level. This becomes an effective platform from which Chandler demonstrates his great acting skills. He is, however, in for a nasty surprise as the tables are turned on him. Jack Carson, in the unlikely role of antagonist scores big in this picture. Among the well-known supporting cast, I enjoyed watching the beautiful Gail Russell in particular whose life ended tragically in 1961 at only 36 years.