Yawn. Poorly Filmed Snooze Fest.

People are voting emotionally.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Some willingness to believe the unlikely is necessary for most movies, but this one asks us to be too gullible to live. Rosalind Russell is threatened by her producer/former lover that, if she marries, he will tell her fiance things about her that will make him shrink from her in disgust and regard her as unclean. Roz Russell? The sophisticated, competent, affable woman who clearly has her head screwed on straight? Who would believe THAT? And yet, from the way Roz reacts, it seems he does have the goods on her.Then there's Sydney Greenstreet as the head of the NY homicide squad. That's right--for a job like that, who else would they get but a fat old slow-moving Englishman with a horror-movie laugh? Who investigates the murder by going to a suspect's house for cocktails?Intelligent and soigne, Roz is always good value, and the theatre setting is appealing, with its somewhat curdled glamour. But any Broadway play with such ludicrous implausibilities would be laughed off the stage.

Vintage film buffs are here offered a cast to die for from the top-billed Roz Russell through Leon Ames, Clare Trevor and Sydney Greenstreet, who turns up four and a half reels in and immediately embarks on a cat-and- mouse duel with Russell. Although there have been a sprinkling - Stage Door, Morning Glory, All About Eve - the theatre hasn't featured too often in film so The Velvet Touch fills an all-too real gap. God knows how much Sardi's shelled out for product placement but it was worth it for the theatre-buff viewers who will lap up the atmosphere. The plot fits where it touches but this time around it's a case of the whole is bigger than the sum of its parts.

When this film begins, Valerie Stanton (Rosalind Russell) is in the office of Gordon Dunning (Leon Ames). Dunning is insisting that he MUST have her or he will destroy her. Dunning is VERY intense and vaguely threatening. Stanton is obviously afraid of him and ends up accidentally killing him in self-defense. However, she does NOT tell the police but tries to see if she can get away with it. Since there is no doubt that Valerie did it, you might wonder how they fill the rest of the movie. After all, the killing happens in just the first few minutes of the film. Well, part of the film consists of Valerie having a flashback where she thinks about all the things that led up to the killing. The rest consists of the police investigation headed by the Captain (Sidney Greenstreet). However, where it all goes is not what I would have expected--and I appreciate that. In particular, since Valerie was doing the play "Hedda Gabler", I assumed the film would end the same as the play.The film has a very nice script, as it explores human nature and has plenty of twists and turns. Additionally, the acting and direction are quite intelligently done--making it a nice movie for adult tastes. Of the actors, by the way, my favorite was Greenstreet, as he plays against type and his performance is smooth and believable. Overall, a very nice film.

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!