THE VELVET TOUCH (1948)

Playing a big B’way star longing to pivot from stylish society comedy to heavy-weight Ibsen drama (HEDDA GABLER), Rosalind Russell was mirroring her current film trajectory; leaving behind her signature career-gal romantic comedies for heroines like polio crusader SISTER KENNY/’46 or Eugene O’Neill’s repurposed Greek Tragedy MOURNING BECOMES ELECTRA/’47.  This film opens with the accidental death of lover/producer Leon Ames (very good here) then a long flashback fills us in on cast & motive.  The setup’s fine, but execution on this independent enterprise, led by hands-on manager Frederick Brisson (it’s okay, he was married to Russell*), plays like one of those Summer Stock touring plays popular at the time (witty lines, glam couture, supposedly pre-B’way) long gone from the scene.  The only feature from debuting director Jack Gage (he shifted to tv), it was lucky to get regular Frank Capra’s lenser Joseph Walker along with a strong supporting cast.  Claire Trevor as an aging rival; Leo Genn as a take-charge replacement lover; Frank McHugh & Theresa Harris backstage; Leigh Harline to write a ridiculous theme song and a quip-filled script from Leo Rosten to give the cast opportunities to land a laugh.  Or would if they didn’t stomp on the witticisms even harder than Russell does on the drama.  Look for two surprises: a plot twist that doesn’t happen (Roz thinks she’s left Ames dead, but someone else finishes him off) and for a third act morph into CRIME & PUNISHMENT; Roz as a female Raskolnikov and Sydney Greenstreet a chuckling NYPD Inspector Porify.  Greenstreet, even in this silly piece, makes a fabulous Porify.

ATTENTION MUST BE PAID:  *Brisson, who mainly stuck to B’way, produced five more films for Russell, all comedies/all flops.

SCREWY THOUGHT OF THE DAY:  We get to see just a bit of one of the ‘smart’ comedies with Russell.  It looks both hilarious and hilariously awful.  We also get the end of GABLER, but without the famous last line: ‘People don’t do such things.’  Best guess, it’s cut because Ibsen didn't/couldn’t give Hedda the last line.