La mort n'était pas au rendez-vous

This movie and the above named movie were both made in 1945 (though The Two Mrs. Carrolls was released two years later), both starred Humphrey Bogart and Alexis Smith, and both had a plot involving a man who had murdered his wife. In fact, they are so similar that I had mixed the two films together in my mind. However, I recently watched both films just a few nights apart and found Conflict to be the better of the two films, though neither are great films. However, considering that an okay Bogart film of the 1940s is still very watchable, this shouldn't discourage you from seeing the film. The problem, I'm sure, for many is that both films are so against type for Bogey that you may feel turned off by his character. Plus, the plot is awfully hard to believe. BUT, if you suspend belief and just watch it for its entertainment value, this is a good film--particularly for the fine supporting performance by Sidney Greenstreet.

Conflict is definitely a disturbing and horrifying psychological thriller. With it's maliciously unnerving mood and heavy, dismal cinematography, the film aspires to achieve an all-new level of anxiety.

It's about a guilt-ridden man - Humphrey Bogart's arguably most sinister role ever - who gradually plunges deeper and deeper into state of a devastating mental illness. Hinting at a thorough psychological evaluation in the beginning, Conflict analyzes how a fearless and brutal man - convinced that he's just killed his innocent wife - is trapped in a vortex of clues, which might lead to a mightily shocking revelation. The more observant viewers might already be able to uncover the whole mystery in the first act, but for those who are in desperate need of a satisfying and suspenseful intrigue Conflict brings a genuinely captivating mystery.

Sydney Greenstreet - with his usual charm, sophisticated mannerism, and most-cheerful laughter - plays the psychoanalyst and a friend to Mr. Bogart. The manner in which he exhibits his impeccable intelligence is the film's most-promising quality. And Bogart, with all his devilish attitude and increasing fear is as convincing (and as stylish and graceful) as he was in Casablanca or The Maltese Falcon.

Conflict is a lesser-known film noir, but it's crucial to note that its mightily clever and disquieting premise - along with a bunch of twisted and deranged sequences - delivers a seriously thrilling melodrama that's not to be argued with.

Sidney Greenstreet was only in motion pictures for nine years, but he left a mark as large as his physical presence. He was lucky to be taken through his initial appearance in films (he was past 60)by one of the great modern film directors (John Huston). And after THE MALTESE FALCON he was lucky enough to appear in a second film by Huston (ACROSS THE PACIFIC) co-starring his "Maltese Falcon" friends Bogart and Mary Astor. With that build-up he was set. Unfortunately, he also had been set in the role of villain, and for as long as he was connected to Warners Brothers (which was most of his whole career) he was usually playing villains. There would be exceptions: He was in comedies like CHRISTMAS IN CONNECTICUT, THE HUCKSTERS, PILLOW TO POST. But most of his films were dramatic, with him playing the villains. Sometimes his villains were sympathetic, or the type the audience secretly cheered on (his Superintendent Grodman avenges himself and a wrongly hanged man in the course of the film THE VERDICT). Sometimes he destroyed a truly evil figure (usually Zachary Scott), like in THE MASK OF DEMETRIOS.

Because of THE MALTESE FALCON and the Warner Brothers connection, Greenstreet and Bogart found themselves teamed together, frequently with Peter Lorre or Mary Astor in these films as well. In most of them Greenstreet played a villain or a semi-sinister figure (his role in Casablanca is not a total villain in the film). But CONFLICT is a real exception. It was the only time Greenstreet and Bogart were in a film together and Bogart is the villain, while Greenstreet is the man who solves the murder. It is good reverse casting (reminding us that Bogart's period as a supporting actor in the 1930s was one where he played villains against Edward G. Robinson or James Cagney). Greenstreet is excellent as the the man who uses psychological warfare to crack the killer's conscience. And it is so subtly done we never know what was the cause of Greenstreet's discovery of the truth - it all comes down to an issue of horticulture...so to speak.

This may not be one of Bogart's best, in fact not even close to his best....but his pairing with Sidney Greenstreet makes it worth watching. There is something magical about the manner in which these two actors mesh that is seldom seen in film. Bogart is Bogart, always the tight lipped hero or villain with the clipped speech and slight chip on his shoulder. Greenstreet is the jolly fat man who hides behind that facade, either evil or cunning or both. Two actors with different personas which play perfectly against each other. They are seldom on the same side and although initially, in this film, they appear to be, the tables turn as the film progresses. The story is not a new one....man kills wife...or so he thinks....is she dead or isn't she? The ending is fairly predictable but it still holds your interest. Alexis Smith, as the target of Bogart's affections, is tall, coldly beautiful and rather detached....she does not seem vulnerable enough and can't seem to make up her mind about her feelings for Bogart's character. Watch this film for the exchanges between Bogart and Greenstreet...that's what it is all about. They make the rest of it worthwhile.

...but it isn't really that unusual if you consider the films Bogart made after "High Sierra" and he began to get meatier film roles instead of the one-note gangster roles Warner Brothers often put him into from 1936 until 1941. Bogart was quite a versatile actor to put it mildly, and this film showcases yet another side of his talents.

Bogart plays Richard Mason, an engineer who is celebrating his fifth wedding anniversary with his wife Kathryn (Rose Hobart). However, Richard and Kathryn have been snapping at each other for the last few weeks. In a bit of a showdown before attending their anniversary party, Richard admits that he is in love with Kathryn's sister Evelyn, and Kathryn admits her short temper has been because she realizes this. Kathryn also states that she would never agree to a divorce. Realize that Evelyn (Alexis Smith) is innocent in all of this as Richard has been worshiping her from afar.

That night, on the way back from their anniversary party, Richard is gazing at Evelyn through the rear view mirror and has an automobile accident as a result of not paying attention to the road. Evelyn and Kathryn are unharmed, but Richard has broken his leg. Richard uses this injury, and the fact that no doctor can be sure at what point he'll regain the use of his leg, to come up with a rather clever scheme for killing his wife. After recovering his mobility, he continues to behave as though incapacitated. With everyone believing him immobilized by his injury, he intercepts his wife's car on a remote mountain road, blocking the road with his own car. He kills his wife and then sends the car off a cliff with Kathryn inside. A large group of logs go off the cliff with the car making a kind of eery formation on top of it and obscuring the wreck. The car does not catch fire.

Now all Richard has to do is go back to town undetected, still playing the cripple, and now playing the worried husband as well when his wife does not reach her destination. With Evelyn at his side to provide moral support, his plan is to wait for the alerted state police to find his wife's car and thus her body. Then he'll be free to court Evelyn. However, there is one snag - the police never find Kathryn's body or her car. On top of that, Kathryn's things that were with her when she died are showing up one by one - in Richard's desk, in his bedroom, in his luggage when he goes on a trip. The scent of Kathryn's perfume fills their room one night. He even sees someone who is dressed just like his wife on the street one day and follows her - she disappears into thin air. Whatever is going on here? Was Kathryn unharmed in this second accident as well? Is she playing with him? Unlike most mysteries, this one is not something that needs to be explained to the audience at the end, although it is. If you watch the film closely enough you'll figure out exactly what happened before it starts happening - but you have to pay attention. Highly recommended.