“The Velvet Touch” is a film noir melodrama set in the Broadway theater world of New York City circa 1948. Rosalind Russell stars as Valerie Stanton, a successful and respected stage actress whose life is abruptly upended by a violent murder. The film makes an unusual choice by revealing the identity of the killer early on. Thus, the question the movie posits isn’t “who did it?” but “will they get away with it?”
The film was directed by Jack Gage, who began his career as a dialogue director, working with Rosalind Russell, including on the film version of Eugene O’Neill’s “Mourning Becomes Electra.” Russell’s husband, Frederick Brisson, produced the film, and cinematography was deftly handled by Joseph Walker, the famed and frequent collaborator of director Frank Capra.
The cast includes Leon Ames as Valerie’s producer and implied lover, Gordon Dunning. Many may recognize Ames as the father from “Meet Me in St. Louis.” Claire Trevor, a noir regular, plays Marian Webster, Valerie’s acting and romantic rival who has been on the losing side one too many times. Trevor won an Academy Award for Best Supporting Actress in 1949 for her role as a gangster moll in “Key Largo.” Leo Glenn, a popular British actor of both stage and screen, plays Valerie’s new love interest, Michael Morrell. The great Sydney Greenstreet plays Captain Danbury, the detective attempting to solve the murder while also enjoying dinner at Sardi’s and Broadway shows. Greenstreet, known for his roles in “The Maltese Falcon” and “Casablanca,” elevates the film’s second act with humor and warmth.
“The Velvet Touch” is tragic and indeed ends tragically, in classic noir fashion. At the start of the film, Valerie Stanton is at a turning point in her life. Professionally, she has built a solid career by playing reliable comedic roles onstage. Personally, she has chosen security and career advancement over love. But just as she is given the opportunity to play roles that feel more challenging and begin a relationship that feels more true, fate, along with a frighteningly jealous and controlling man, forces her to confront a much crueler truth that could destroy everything for which she has worked.
The film employs some sophisticated meta–commentary on dramatic roles for women and the consequences women face for taking risks. Henrik Ibsen’s tragic, female–led play “Hedda Gabler” is part of the plot, and for Russell herself, “The Velvet Touch” was a chance for the mostly comedic actor to take on a dramatic role. There is a depth to the film in its commentary on women’s desire and right to choose their own path that reviewers of the time did not seem to catch, viewing it instead through the lens of standard, male–centric noir tropes.
“The Velvet Touch” remains an interesting entry in late-1940s Hollywood, favoring character over puzzle–solving, with a strong performance from Russell. It is a film that moves quickly, looks good, and offers a slightly different take on crime and consequence. For viewers interested in classic noir, Broadway stories, or Russell’s dramatic work, it is well worth seeking out.
“The Velvet Touch” screens at 7 p.m. on Tuesday, Jan. 13, at Woodmere as part of the Tuesday Nights at the Movies series. Light refreshments will be provided prior to the screening. Tuesday Nights at the Movies screenings are free to the public, but donations are greatly appreciated. Woodmere is located at 9201 Germantown Ave. in Chestnut Hill.
