Excellent, Without a doubt!!

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The Velvet Touch is a crime melodrama with Rosalind Russell as Valerie Stanton, a celebrated actress known for comedies whose career has been built up by producer Gordon Dunning.Dunning gets upset and chides Stanton when she tells him that she is going to marry Michael Morrell, an architect and by taking a break from comedies and tackle Hedda Gabler with another producer. Stanton ends up killing Dunning in a fit of anger with an award statue and another actress falls under suspicion for his death.The film is rather underwhelming and talkative almost like a stage play. Once Durning is killed early on in the film, we have flashbacks as to how Dunning and Stanton met and how later Stanton go involved with Morrell.The film livens up a bit when Sydney Greenstreet enters as a detective investigating the killing. However the acting is a bit starch, there is no mystery to the film as to even if the killer will get justice as it was made during the Hays Code era.

The Title is the Feel of the Film. It is all Soft, with Gloss and Peacock Costumes and Fine Performances but the Movie is Rather Shallow and not much Happens. After a Norish Opening, Including a Flashback, the Film Looks Standard and the Broadway Setting is Lackluster.In Fact, most of the Thing is Lackluster, unless You Count the Shiny Costumes that Rosalind Russell Wears while Strutting Around and Walking from Stage Left to Right quite a bit. The Only Mystery is whether or not the Rather Stiff Actress will get away with Murder. But on Second Thought that's no Mystery because this is 1948.So that is Possibly Not Enough to keep things going for the Proceedings and Ultimately it isn't Quite All That and the Movie becomes Routine and Unmemorable. It is all done with Professional Ease with Sydney Greenstreet not doing much more than Removing His Hat and making Self-Deprecating Remarks about His Girth.The Film is Glamorous Looking but not much else to Recommend. Worth a Watch but nothing here Stands Out as a Resume Enhancer for the Familiar Cast.Note: one of the Film's greatest puzzles is who decided on that opening song

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!