You won't be disappointed!

Touches You

best movie i've ever seen.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Speak as a Bogart fan must say that this one is for me in the better half of Bogart filmography and I saw many of his films. For me a perfect movie, and I do not understand why this movie has "only" this grade which is very good but for me it has a lot of material and a lot more, I even included it in the Top 250 with no problems. Film style irresistibly draws on films of Alfred Hithcock you believe that a man he did not know the director of the film after watching the same very likely say that this is a Hitchcock movie, I think this is enough said. The script is for a clean 10-house as well as top-notch acting. All in all my film is pure quality and I recommend it to fans of Bogart and those of Hitchcock films.

"Conflict" is one of Humphrey Bogart's lesser known films sandwiched between two of his best, "To Have and To Have Not" and "The Big Sleep". It is nonetheless, an enjoyable noir mystery.There is murder, deception and mystery. We have a love triangle involving Richard Mason (Bogey), his wife Kathryn (Rose Hobart) and Kathryn's younger sister Evelyn (Alexis Smith). A murder takes place and the murderer is satisfied that the perfect crime has been committed. But has it? What incriminating evidence did the murderer overlook? Is the murder victim really dead? Family friend Dr. Mark Hamilton (Sydney Greenstreet) seems to know more about the crime that he's letting on.Directed by Curtis Berhardt, the film is a fine example of 40s "film noir". It has all of the elements of the genre...dark shadows, night scenes, femme fatales and mystery. Although the identity of the murderer is known, the rest of the film is devoted to the question of whether or not the murder will be the perfect crime...or not.Bogey is well, Bogey playing the lead character with his usual conviction. And any teaming of he and the venerable Sydney Greenstreet is worth the price of admission alone. Their exchanges and knowing glances are at the heart of the story.An entertaining little film.

This is not "How to Murder Your Wife". In fact, it could be called "How NOT TO....". First, if you have a mutual friend that is a psychology genius who had their training in Vienna (where all great movie shrinks get their training...), forget about it! Second, make sure that the woman you want to kill your wife to be with actually feels the same way about you! Those are two things that Humphrey Bogart forgot to check out before covering his wife's car with over-sized Lincoln Logs. The poor unfortunate wife is Rose Hobart, a rather shrewish woman aware that her husband has fallen in love with her younger sister (Alexis Smith), and unwilling to give her husband a divorce. Bogart and Hobart feign affection for their friends, who have thrown them a fifth wedding anniversary party. Psychiatrist friend Sydney Greenstreet praises them for their seemingly flawless marriage, but this shrewd bachelor must see beyond the act the two put on. There seems to be no reason given as to why Hobart and Bogart got married in the first place, let alone stayed together for five years. And why Hobart is so condescending to her husband beyond the knowledge of his love for her sister (and still won't let him go!) is also not explained.What makes the film enjoyable (and includes it in the category of film noir) is watching the pieces fall together that bring Bogart down. This was his first bad guy since becoming a leading man, so it is obvious as to what attracted him to the part. Poor Alexis Smith was wasted for much of her time at Warner Brothers, playing a variety of one dimensional good or bad characters that didn't propel her out of the string of second leads. She had proved to be very adept at comedy in "The Doughgirls" the year before this, but unfortunately was saddled with mostly dull parts. It wouldn't be until Broadway beckoned her for "Follies" that she got the acclaim she truly deserved, and her part on "Dallas" in the 80's proved she had been worthy of better stuff! Hobart, a forgotten leading lady of the early 30's, is sadly given a truly horrible character to play; It takes a viewer of incredible conscience to not want her to get the fate she does. Bogart's character is not the egomaniac that Greenstreet's shrink makes him out to be, and actually deserves sympathy. It makes you wonder how the story would continue past the obvious conclusion. Greenstreet's overly wise psychiatrist gets a little annoying with his preachy psychological mumbo-jumbo. His own ego makes me wonder if the inmate is really running the asylum....

Have you noticed the similarities between, not only «Conflict» and «Vertigo» (1958), but also with «The Two Mrs. Carroll» (1947)? Indeed, in these movies, there is at least one of the following occurrences : 1) A husband planning to get rid of his wife. 2) A woman who «mysteriously» disappears after entering a building while being followed by a man. 3) A clue that gives away the guilty person (a rose, a necklace). I'll stop here : if you're familiar with the three movies mentioned -- or just curious about the «mechanics» of good suspense/noir films plotting -- then I'll leave it to you to find more connections. You may argue that, since «Vertigo» came after the others, if any «imitation» is to be pointed out, then Hitchcock's film would be the one to «blame». Perhaps.... Yet, none of the other two come close to the first part of «V.», in the atmospheric and hypnotic suggestion of a «romantic ghost».