A Última Noite de Glória

As always, Rosalind Russell gives a superb performance in "The Velvet Touch." She gets a lot of great support from veteran pro Claire Trevor, who is on to her as well as Leo Genn and Leon Ames.

As Valerie Stanton, an ambitious actress who knows her craft quite well, Russell etched a memorable portrait of a woman bent on self-destruction. She knows that she can switch from comedy to drama and she will do anything to prove the point. Of course, killing Ames is by accident, but it happened and she did cover it up.

Genn loves her as tragically reveals that he knows what she has done.

Sidney Greenstreet plays the police inspector with that Peter Falk-like Columbo attitude. He is polite but yet knows that something is amiss with Valerie.

Leave it to Roz Russell to play that ending scene while waiting in the wings is Greenstreet. He is ready to escort her to a new destination. Yet, he allows her to take her final bows. Bravo!

THE VELVET TOUCH is a great witty drama about Valerie Stanton (Rosalind Russell), a Broadway actress living the high life who's wrought with guilt when she kills her lover/impresario Gordon (Leon Ames) after he threatened to end her career. We see the deadly confrontation at the beginning and thanks to some flashbacks we see how it all led to that moment and the rest of the film is spent on how Valerie deals with her guilt while the murder is being investigated. THE VELVET TOUCH is NOT a murder mystery because we see Valerie killing Gordon at the beginning. Sydney Greenstreet is the investigator involved in solving the crime. He's a big fan of Valerie and the story is about how privileged people living in a privileged world are treated somewhat differently in these circumstances than the average folk. Because it's not a standard murder mystery with the usual penchant for suspense, this story is much more complex and actually asks questions that standard mysteries or film noirs wouldn't ask, all with wit and intelligence. The McGuffin in THE VELVET TOUCH is Valerie's guilt: how can she live with herself? Will she ever tell that she's the killer? How will she tell? Who already knows she's the murderer and the fact that they don't care. Very interesting points rarely touched in films of those days or even today. The lack of focus on suspense is refreshingly original and sorta anti-Hitchcock.

The witty dialogue, certainly during the first hour, is some of the best writing I've ever heard in any film. It's positively brilliant and delivered to perfection by the stellar cast: Russell, Claire Trevor, Greenstreet and certainly Leo Genn all shine. Theresa Harris, as Valerie's dresser is also good in a supporting role. The ending is poignant without being sappy or melodramatic.

Aside from the script and the cast, there are two things that really standout in THE VELVET TOUCH: Rosalind Russell and the B&W cinematography. Rosalind looks amazing and underplays what could have been a role that could have easily fallen into melodramatic nonsense. Her confrontations with Claire Trevor are priceless. She's truly a star in this film and towers over so many other actresses of her time whom are more well-known than her.

And lastly, the black & white cinematography is absolutely gorgeous. The levels of black here are truly rich and well, velvety. It's a beautiful film to look at and makes me wish more B&W films were made today.

The only sour note in THE VELVET TOUCH is the theme song. It's all wrong. But that's just a minor point in an otherwise excellent production.

Sydney Greenstreet and his loud, frequent guffaw (6 years after Maltese Falcon and Casablanca) plays Captain Danbury trying to track down a murderer, with a few twists and turns. Viewers will recognize Gordon Dunning, played by Leon Ames, who often had roles of authority, -- the sheriff, the DA, the commissioner, the captain on a ship. Rosalind Russell (10 years after playing Sylvia Fowler in "The Women") plays Valerie Stanton, a stage actress ( although Agnes Moorhead would also have been PERFECT for this role). Leo Genn, Claire Trevor (Key Largo, The High & Mighty), Frank McHugh, and Walter Kingsford also play very believable characters. Note also Theresa Harris, the dresser, who was also in "The Women" with RR. Good solid story from 1948, no obvious plot-holes.

"The Velvet Touch" is a wonderful film starring Rosalind Russell as a glamorous Broadway star, Valerie Stanton, who accidentally kills her boyfriend-producer.

The movie's dialogue is sophisticated and so is its New York theater atmosphere - the parties, the clothes, the rivalries, and the lush theater itself which looks like the real thing, but is an elaborate set. Russell's costars include Sydney Greenstreet, Claire Trevor, and Leon Ames. Greenstreet's portrayal of the clever police detective is excellent, and you can see where he would get on Russell's frayed nerves. Trevor, as a rival of Valerie's, gives a marvelous performance. There is a clever juxtaposition between the film's plot and the play in which Valerie Stanton is appearing, Hedda Gabler. I've always considered this movie an unsung gem.

The Velvet Touch is directed by Jack Gage and collectively written by Leo Rosten, Walter Reilly, William Mercer and Annabel Ross. It stars Rosalind Russell, Leo Genn, Claire Trevor, Sydney Greenstreet and Leon Ames. Music is by Leigh Harline and cinematography by Joseph Walker.

Ah, now then, is this a murder mystery in reverse? At the beginning we are shown the crime of murder, so we know the main character is guilty. The rest of the picture thrives on if Valerie Stanton (Russell) will either get caught by the law, own up, or become a victim of crime herself? The screenplay contains a flashback and that grand old devil of someone else being pegged for the murder. There's witticisms abound, with some wonderfully choice lines delivered with relish, while the cast turn in decent shows - Greenstreet doesn't show up till the 45 minute mark, but promptly waddles in and steals the film!

Set to the background of the theatre it's unsurprising to find this is something of a theatrical drama rather than a film noir of the era. It has found its way into a couple of film noir reference books, without really being film noir as such. Certainly the photography is appealing to noir fans, and there's a dark passage of play that definitely comes out of noirville, but really it's a marginal entry. But hey! It's still a very good film that's recommended. 7/10