The Velvet Touch (1948)

Admirable film.

A story that's too fascinating to pass by...

The film never slows down or bores, plunging from one harrowing sequence to the next.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The star of this movie (Rosalind Russell) and its producer (who was also Russell's husband), created "Independent Artists Ltd" and for their first production, selected a story about a murder that was committed because of the conflict that existed between a top actress and her producer!! Fortunately, this wasn't autobiographical and provided the basis for an entertaining melodrama that features a colourful collection of characters, a wonderfully witty script and an on-going sense of tension that's created because of the circumstances of the murder and its unexpected repercussions. Guilt, jealousy and bitterness are just a few of the emotions that fuel the passions of the story's main characters and ensure that what takes place behind the scenes at a Broadway theatre, is every bit as the dramatic as anything that takes place on stage.For the last ten years, top Broadway star Valerie Stanton (Rosalind Russell) and her producer, Gordon Dunning (Leon Ames) have worked together on a series of light comedies that have all been highly successful. Problems arise, however, when their latest hit comes to the end of its run and Valerie decides that she wants to develop her career by taking on more serious roles. In Gordon's office, the two ex-lovers get into a heated argument because he doesn't want to end their relationship (personally or professionally). In his desperation, he also threatens to reveal some unflattering information about her past which would undoubtedly threaten her current relationship with Michael Morrell (Leo Genn) who's a well-respected architect. As their argument starts to become more physical, Valerie picks up a statuette from Gordon's desk and hits him over the head with it and then, recognising that she's killed him, leaves the theatre shortly after.Marian Webster (Claire Trevor), who had regularly been one of Valerie's co-stars during her association with Gordon, discovers the producer's dead body and is heartbroken because she'd been his lover until Valerie came along and had remained in love with him ever since. Her distress is so great that she immediately falls into a deep state of shock and has to be hospitalised. When the police investigation begins, Captain Danbury (Sydney Greenstreet) is assigned to the case and Marian Webster becomes the prime suspect because her fingerprints are the only ones found on the statuette. Unfortunately, because of her condition, Marian isn't well enough to be questioned by the police and so Danbury pursues his investigation by calling the whole theatre group together to discuss what they knew about what had transpired in Gordon's office. Nothing new seems to emerge from this process and so Marian Webster remains under suspicion and it seems that Valerie's going to get away with murder.During the weeks that follow, Valerie becomes increasingly tormented by the guilt she feels about what's happened to Marian (despite the fact that the two women hate each other) and is also fearful about whether the police will discover that she's Gordon's killer. This makes her rehearsals for Ibsen's "Hedda Gabler" extremely challenging and also makes it uncertain whether she'll ever be able to achieve her ultimate ambition and prove herself as a serious actress.Rosalind Russell and Claire Trevor are both superb in their roles with Russell doing a great job of making her character's anguish recognisable whilst still conducting herself with her usual confidence. Leon Ames is brilliantly cast as the shrewd producer who has some cynical attitudes to the whole notion of love and Leo Genn is incredibly smug as the architect who patronises Valerie from the very first time he meets her. The outstanding performance, however, comes from Sydney Greenstreet who illuminates every scene he's in with his offbeat humour and his ability to convey non-verbally that he consistently knows more than he outwardly acknowledges.

Undeservedly obscure, efficiently made little drama with a twist of noir thrown in. Told mostly in flashback after a tense opening this has a breezy charm in its first half that lessens as matters become more serious. That's all to the good since the material is being handled by acting masters. The main quartet of players, Rosalind Russell, Claire Trevor, Sydney Greenstreet and Leon Ames, are great as a group and individually.Ames has less screen time but makes the most of what he has. A gifted supporting actor who could play warm, understanding men, usually fathers and venal bastards with equal skill. He's the latter here and manages to not make him one note but there's no question he's a low deceitful man.Sydney Greenstreet doesn't show up until almost the middle of the picture but he's absolutely terrific as the jovial police inspector. Bending his established screen persona slightly from ominous malevolence to convivial affability with a razor sharp perception laying underneath he and Rosalind do a fascinating dance of cat and mouse.Now to the ladies, Rosalind taking a break from her customary comedies is properly anguished as the chic actress whose desperate act sets the film in motion. She's classy and able to handle both the lightness necessary at the beginning as well as the tension needed to sustain the mood of the story as it progresses.Claire Trevor in a pivotal role gives one of her very best performances in a career full of them. She shades Marian with so many emotions, often within a single scene, she's riveting when on screen and you miss her when she's gone. She and Roz spark off each other and make their scenes crackle, the hospital scene positively seethes with loathing. Injecting a note of much needed levity into the film is Dan Tobin as an acid tongued gossip columnist Jeff Trent, he's a delight whenever he pops in. The only real dud is Leo Genn as Roz's new paramour, a fine actor and he's not really bad but his part is a filler and up against such great actors working at top speed he slips into the woodwork.Smoothly paced and directed in a straightforward manner by John Gage in his only theatrical feature. It's the great performances from Rosalind Russell, Claire Trevor and Sydney Greenstreet plus an enjoyable story with a great ending that makes this one well worth seeking out!

Following the costly failure of "Mourning Becomes Electra," which Russell and her husband Frederick Brisson had produced themselves, this somewhat more commercial enterprise put the star back in the public's good graces. She plays a highly successful Broadway actress, groomed from youth by producer Ames, who longs to branch out from the romantic comedies she's known for and perform in "Hedda Gabler" for a competitor of his. When Ames responds to her wishes with blackmail threats, a fight ensues and he winds up dead. Fortunately for Russell, no one seems to notice that she was even in Ames' office and she is able to slink out, leaving the blame at another person's doorstep. However, guilt begins to eat away at her and she can't seem to elude Greenstreet, the inspector on the case. Despite the bright promise of a relationship with new beau Genn and the ability to fulfill her dreams on stage, she starts to feel the heat of her inadvertent crime. Russell, looking fine in a series of Travis Banton costumes, gives a dedicated and engrossing performance, despite the presence of a few mannerisms, which would eventually become part and parcel of her repertoire. Genn is smooth and even a bit mysterious. The pair had starred in "Electra" and was deemed to have chemistry enough for another teaming despite that film's box office non-performance. Ames is appropriately commanding, demanding and nasty, yet shows a tad of humanity under all his bravado. Trevor, as a rival for both Ames' attention and the theatre audiences', gives an excellent performance. She won an Oscar this same year for "Key Largo." Russell was wise to let her retain her snarky dialogue and let her have a few moments in the sun as it benefits the film nicely to have a costar of her stature. Greenstreet has fun with his probing character (who enjoys bursts of laughter at unexpected times.) Generally, the cast is made up of above-average actors, which aids the quality of the film and makes it interesting to watch today. Comic veteran McHugh has a small role as a stage manager while attractive newcomers Barker and Hyer have little roles as actors in Russell's current play. Tobin appears as an implied-gay gossip columnist. It's an interesting enough mystery story made more palatable by the sheen of some beautiful sets (not the least of which is the opulent theatre itself, one of the largest sets of its kind), costumes and dramatic lighting. It also contains some entertaining dialogue (pre-dating "All About Eve," which would ratchet the chatter up even further, by two years.) Fans of harmonic men's groups will get a kick out of the title tune, crooned by an unknown gaggle of gentlemen.

When the opening credits come up, you think that this film is going to be a musical as a chorus serenades us with "The Velvet Touch", a thoroughly forgettable song. It's an extremely strange beginning for a murder drama; however, it swings into the story in short order and is off and running.Roz plays an established Broadway star partnered with Leon Ames, her producer and long-time paramour. She falls for the rather bland Leo Genn and seeks to break off her collaboration, both professional and personal with Ames. He's not having it and she clubs him over the head. Exit Mr. Ames. Claire Trevor, looking a bit frumpy here, is the long suffering and rejected lover of Ames. She is blamed for the murder and commits suicide. Will Roz confess, kill herself out of guilt on stage while appearing in "Hedda Gabler" or get away with murder? That is the question. Add the excellent Sidney Greenstreet as a New York police detective (who came up with that casting?)and some good character parts with Frank McHugh and Esther Howard and you should have a winner. But the story, partly told in flashback, while satisfactory, is not particularly spell binding. The film really begins to drag after the opening murder scenes and doesn't seem to have that extra punch/suspense/plot twist necessary to fully hold your interest. It's not bad, it's just not that good.