Great story, great script, great cast. Until it appeared on TCM the other day I had never heard of "The Velvet Touch". It was released through RKO and was produced by comparatively unknown Independent Artists, and then presumably dropped out of sight - you can't find this picture in any format nowadays, but it deserves to be seen.The script is the thing here, reminiscent of 'All About Eve" with the same type of crackling dialogue and one-line zingers. Can't find any fault with the cast as all fit perfectly into their parts, especially Rosalind Russell in the lead role and Leon Ames as her Svengali-like producer/nemesis. I thought Sidney Greenstreet as the Police Captain was a neat bit of off-beat casting and I hardly noticed his upper class British accent. Saving the best for last, as Claire Trevor put out another outstanding performance as 'the other woman'. She was one of our most underrated actresses and I can't think of one bad job ever turned in by this Westchester,NY native.Can't think of a single flaw in 'The Velvet Touch". Nearly perfect filmmaking, which hardly ever happens anymore. This sort of Hollywood product was once the norm and is now the exception, in a medium which, sadly, has become form over substance.

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!

Without a doubt, it's a Rosalind Russell showcase. She's in about every scene, and in a role as a Broadway actress she gets to model 1948's leading fashions, especially hats. However, it's not the Russell type of madcap comedy she was so good at. Frankly, as actress Valerie she smiles very little, bearing the burden of killing her Broadway producer (Ames) in an act of rage following his abusive machinations. She sort of wants to get away with it and continue her big career, but then there's her nagging conscience. Besides her arch-rival (Trevor) is getting the blame, so Valerie is really conflicted, a perfect role for a distinguished Hollywood actress wanting to show her thespian chops.Then there's the added attraction of the great Greenstreet, as the lumbering head detective. Just what is his game as he investigates the killing. Is he being straightforward with Valerie or just trying to trap her. It's hard to tell. But then, being sly was the actor's stock in trade regardless the role. However, pity poor Leo Genn who mostly gets to stand around as Valerie's patient suitor. And I really like Theresa Harris as the winsome maid, Nancy, while Claire Trevor really shines in one of her patented tough gal roles. The catty barbs between her and Valerie are deliciously done. The movie, as a whole, may be pretty talky, but it's snappy dialogue, so the talk comes across as cleverly entertaining. Anyway, there's no mystery to the story; we know whodunit from the outset. Instead, it's a character study with the estimable Russell, front and center, showing off her talents in a different direction from the usual sophisticated comedy. So fans should be prepared, but no less impressed.

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.