Crime movies were in vogue after World War II. Rosalind Russell wasn’t the only star to place a bet on film noir, but she was all-in. The Velvet Touch was her baby: made by her company with her husband Frederick Brisson producing. Russell’s bet paid off onscreen.
Before we drill down on the movie, a Rosalind Russell adjacent story. I’m old enough to remember my father buying our family’s first color TV. It was for an early Super Bowl before they added Roman numerals. The game didn’t make an impact on me, but the first color movie I remember seeing on the new tube was Auntie Mame with Rosalind Russell. It’s remained a favorite over the years as has its star.
Back to today’s movie post. As usual, I will use the actor’s names, not those of the characters. If I’m old enough to remember my first color TV, I’m old enough not to fool with character names. So it goes
The Velvet Touch is set in the world of the theatre. Russell plays a star who’s tired of being bossed around by an imperious impresario played by Leon Ames. She made her name with light and frothy comedies. She wants to try her hand at a serious drama, Ibsen’s Hedda Gabbler. Ain’t nobody more serious than a Norwegian playwright. Ames thinks Russell has her hedda up her ass…
In the opening scene of the movie, Russell and Ames quarrel in his office at the theatre. He threatens to ruin her life: the action culminates in a bop on his bean with an awards statute. Russell’s aim is true, Ames is a dead imperious impresario. I’m not giving away the ending because the movie is about Russell’s guilt over the murder and how her life begins to unravel as a result. It is NOT a whodunit, but a why the hell did I do that?
Russell flees the scene of the crime unseen but can’t erase the memory from her mind. The Velvet Touch deftly moves back and forth from the present to flashbacks of the past without being confusing, often a fatal flaw in flashback laden films.
Why does Russell think she can get away with the imperious impresario’s murder? She always wears velvet gloves. Hence the title. Here’s Roz looking glamorous in a taxi with the man she killed:
Follow that cab. It’s not relevant to the post but I’ve always wanted to say that.
Once more with feeling: Follow that cab.
With his typical flair and girth, Sidney Greenstreet plays the police detective in charge of the investigation. He’s a theatre buff and a Rosalind Russell fan boy. It’s unclear for much of the movie if he suspects her or keeps showing up because she’s his favorite actress. One of many twists that keeps the story chugging.
Let’s introduce some other key members of the cast:
British actor Leo Genn plays Russell’s man. He disliked Ames and how he treated our star. The antipathy was mutual. I thought Ames had it coming: He was a sleazy rat bastard whose jam was blackmail.
Frank McHugh, best known for his many roles as Jimmy Cagney’s sidekick, plays Ames’ factotum; a word I’ve always wanted to type.
Once more with feeling: Factotum.
One reason I was so excited to see the movie was the presence of my cat’s namesake Claire Trevor:
Trevor is Russell’s frenemy. She’s in love with the imperious impresario but he threw her over because of his fascination with the star. Trevor is stuck playing supporting roles in Russell’s plays. She became the prime suspect in the backstage murder then lands in the hospital:
Things go south for Claire who takes her own life. That weighs heavily on Russell’s conscience. She has a triumphant opening night as Hedda Gabler then confesses to the murder by placing a note in-get ready for it-one of the velvet gloves she wore while bopping the imperious impresario in the bean.
I rarely disclose this much about a plot, but the character’s motivations are the point of the movie. Psychological thrillers were in vogue in the late Forties and The Velvet Touch is among the best examples of the genre.
The acting is universally superb, especially Rosalind Russell as a likeable diva with a conscience. A guilty conscience will get you every time.
The Velvet Touch was directed by Jack Gage, most of whose work was in television. The excellent script was written by Leo Rosten best known as the author of The Joys of Yiddish. Rosten’s script is loaded with juicy lines and a heavy dollop of humor. Oy, such a script.
I thought of All About Eve as I watched The Velvet Touch. The two have similar elements but Eve is much better known. Since it was released two years earlier, I wonder if the Russell vehicle influenced the Davis vehicle. Holy vehicular comparison, Batman. Any movie that compares favorably to All About Eve is a helluva flick.
Grading Time: I give The Velvet Touch 3 1/2 stars and an Adrastos Grade of B+. It’s yet another hidden gem I discovered via TCM’s Noir Alley. Thanks again, Eddie.
Let’s post some posters. We begin with a side-by-side of two long sheets one of which features the title of the play within the play:
It’s time to exit the backstage area and hit the lobby:
That’s our cue to post three color lobby cards promoting this black and white movie:
The trailer isn’t online, so the last word goes to Eddie Muller’s Noir Alley intro and outro:
