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Visitors Review

classicsoncall 2012-05-25 00:15:52

"Sometimes your thoughts can be like a malignant disease and start to eat away your will power."

"Conflict" has always been one of my favorite Bogey movies, even if itdoesn't score highly with most viewers. Perhaps it's the chemistrybetween he and Sydney Greenstreet, who's character is a psychiatristwho specializes in the workings of the criminal mind. There's a greatscene in which Professor Hamilton (Greenstreet) and Richard Mason(Bogart) exchange ideas on the "perfect crime", with all of theprofessor's insight focused on accurately describing Mason'suncertainty and attendant behavior following the murder of his wife.Hamilton describes Mason's conduct to a tee, leaving Mason speechlessas he walks out the door.There is really no mystery here, early on we know that Richard Masonfaked the complications of an auto accident to set up a confrontationwith Kathryn Mason (Rose Hobart) on a lonely mountain road. Astuteviewers will catch the mistake that Mason makes to the police andProfessor Hamilton, when describing his missing wife "the last time Isaw her". If you don't catch it, you'll be aware of it during a repeatviewing and say to yourself, "how did I miss that?" The scene is deftlydone, as Greenstreet's character doesn't give a hint of recognition atMason's errant remark.The remainder of the film relies on a considerable number of set upsintended to smoke out Mason. Granted, some of the circumstances requireodds defying precision timing, and a highly unlikely alliance betweenthe police and the professor. Maybe in simpler times, authorities mighthave been able to trap their victim as was done here, but I don't thinkit would work in a real life situation today. Nevertheless, aspositioned in the film, each manufactured event is intended to makeMason believe that his wife may not be dead (even though he did killher), or that he may slowly be losing his mind. Even random eventsconspire to trigger Mason's guilt - an engineering sketch by one of hispartners, and a pile of logs rigged for a vacation lodge bonfireoutwardly resemble the scene where Mason rigged his wife's unfortunate"accident".Ultimately, many movies require some suspension of belief for theirpremise to work. "Conflict" is one of those movies where thecharacters, dialog and set ups meld together cohesively enough to offeran entertaining viewing if one can refrain from being too critical. Onthat basis, the film is well recommended.

mgrindberg 2012-05-24 10:02:25

impact of conflict

This is one of Bogart's best movies. He could go either to hard bittenprivate detective Sam Spade or to paranoid types like the role he playsin this movie or what he did in Treasure of the Sierra Madre. Like mostHollywood movies, murder seems a bit unrealistic given the charactersas they are written out and portrayed. But get by the murder and thecontrived plot that follows, Bogart still is nothing less thanfantastic in this movie. Alexis Smith's part as his wife's youngersister is another reason not to throw this film in as a minor andforgettable Bogart effort. Leave it to a director like CurtisBernhardt, a guy who was known for making "women"s films to make a filmthat explores so well a man's infatuation and insecurity.

planktonrules 2012-05-22 19:27:55

not to be confused with The Two Mrs. Carrolls

This movie and the above named movie were both made in 1945 (though TheTwo Mrs. Carrolls was released two years later), both starred HumphreyBogart and Alexis Smith, and both had a plot involving a man who hadmurdered his wife. In fact, they are so similar that I had mixed thetwo films together in my mind. However, I recently watched both filmsjust a few nights apart and found Conflict to be the better of the twofilms, though neither are great films. However, considering that anokay Bogart film of the 1940s is still very watchable, this shouldn'tdiscourage you from seeing the film. The problem, I'm sure, for many isthat both films are so against type for Bogey that you may feel turnedoff by his character. Plus, the plot is awfully hard to believe. BUT,if you suspend belief and just watch it for its entertainment value,this is a good film--particularly for the fine supporting performanceby Sidney Greenstreet.

tostinati 2012-05-22 13:54:20

How do you spell "regret"?

Spoilers.I've just seen this film again for the first time in about 20 years.I've held it as a personal favorite from an earlier viewing, all thistime. It was with some trepidation, then, taking into account all thewater that has washed under the gates in the last 20 years in cinematicterms, that I came to Conflict again. Would it still stand up as anauthentic film experience? For me, it has. --And what's more, there are resonances here, this timearound, that flew over the head of a callow youngster. This go 'round,the film feels like nothing less than a meditation on regret, all thosemistakes you wish you could undo, all those unfulfilled longings ofmiddle age that arise out of a palpable sense of missed opportunitiesand fading last chances.Bogart is perfect as Richard Mason, an engineer who is trusted tooversee the building of a bridge or skyscraper, but can't repair a'simple little thing' like his damaged relationship with his wife.Mason regrets what has become of his marriage. He regrets feelingtrapped in a 'situation.' He regrets that the time line of eternity hasfailed to synchronize the lifetime of his wife's much younger sisterwith his own. A cool and respected professional outwardly, he is,inside, a flailing, discontented man. What finally pushes him over theedge may be his wife's casual mockery in the films first scene, apreparation for their anniversary party. Amid some standard jibes andold-couple bickering, she throws out this taunt: that she hopes henever tells Evelyn, her sister, he has a thing for her, because she'dlaugh at him. "I wish you hadn't said that" he thinks out loud. It's atthat point that we begin to feel the wheels of escape turning in theengineer's head. With just a few thoughtless words, the relationshiphas turned a corner, from merely unrewarding to personally demeaningand thus intolerable. Therein hangs the tale.By fade out, it is clear that Mason has one other towering regret:having killed his wife. The final scene, returned to the sepulcher hefashioned for his wife, Mason takes a long hard look with us alongsideat existential despair. The empty tomb is a metaphor for Mason's lifeas he must feel it at that point: The emptiness of an empty life, theemptiness of death and eternity for one who has lived such a life.Whatever he was waiting for hasn't shown up this existence, and won'tin the next. This is it for Richard Mason. Does it get any darker thanthis?Conflict isn't included in most noir references because, I believe,some of the more psychologically aberrant elements of the charactersand story are explained away rationally at the end, as part of a set upor a trick to trap a murderer. But I think the experts are mistaken innot having looked more closely at this film. The core of Conflict is,in fact, the purest noir: an existential view of life and death,struggles with doubts about ones own sanity, sexual longing as a spurto murder, and a cruel subversion of a cherished bourgeois institution(the 'perfect' marriage). If this isn't noir, then what is noircriticism but a transparent popularity contest-- like the earliestauteur criticism-- that speciously excludes films for having the"wrong" director, or for not having been endorsed by the "right"people?Ten stars. Definitely worth your time.

Bucs1960 2012-05-22 15:33:33

Bogart and Greenstreet...You Can't Beat 'Em

This may not be one of Bogart's best, in fact not even close to hisbest....but his pairing with Sidney Greenstreet makes it worth watching. There is something magical about the manner in which these two actors meshthat is seldom seen in film. Bogart is Bogart, always the tight lipped heroor villain with the clipped speech and slight chip on his shoulder.Greenstreet is the jolly fat man who hides behind that facade, either evilor cunning or both. Two actors with different personas which play perfectlyagainst each other. They are seldom on the same side and althoughinitially, in this film, they appear to be, the tables turn as the filmprogresses. The story is not a new one....man kills wife...or so hethinks....is she dead or isn't she? The ending is fairly predictable but itstill holds your interest. Alexis Smith, as the target of Bogart'saffections, is tall, coldly beautiful and rather detached....she does notseem vulnerable enough and can't seem to make up her mind about her feelingsfor Bogart's character. Watch this film for the exchanges between Bogart andGreenstreet...that's what it is all about. They make the rest of itworthwhile.

theowinthrop 2012-05-21 22:18:51

"The Subject Was Roses"?

Sidney Greenstreet was only in motion pictures for nine years, but he left amark as large as his physical presence. He was lucky to be taken throughhis initial appearance in films (he was past 60)by one of the great modernfilm directors (John Huston). And after THE MALTESE FALCON he was luckyenough to appear in a second film by Huston (ACROSS THE PACIFIC) co-starringhis "Maltese Falcon" friends Bogart and Mary Astor. With that build-up hewas set. Unfortunately, he also had been set in the role of villain, andfor as long as he was connected to Warners Brothers (which was most of hiswhole career) he was usually playing villains. There would be exceptions: He was in comedies like CHRISTMAS IN CONNECTICUT, THE HUCKSTERS, PILLOW TOPOST. But most of his films were dramatic, with him playing the villains. Sometimes his villains were sympathetic, or the type the audience secretlycheered on (his Superintendent Grodman avenges himself and a wrongly hangedman in the course of the film THE VERDICT). Sometimes he destroyed a trulyevil figure (usually Zachary Scott), like in THE MASK OFDEMETRIOS.Because of THE MALTESE FALCON and the Warner Brothers connection,Greenstreet and Bogart found themselves teamed together, frequently withPeter Lorre or Mary Astor in these films as well. In most of themGreenstreet played a villain or a semi-sinister figure (his role inCasablanca is not a total villain in the film). But CONFLICT is a realexception. It was the only time Greenstreet and Bogart were in a filmtogether and Bogart is the villain, while Greenstreet is the man who solvesthe murder. It is good reverse casting (reminding us that Bogart's periodas a supporting actor in the 1930s was one where he played villains againstEdward G. Robinson or James Cagney). Greenstreet is excellent as the theman who uses psychological warfare to crack the killer's conscience. And itis so subtly done we never know what was the cause of Greenstreet'sdiscovery of the truth - it all comes down to an issue of horticulture...soto speak.

2012-05-20 03:13:51

My Favorite Bogart Movie

I simply can't believe that all previous reviewers only give 3 or 4 stars for "Conflict". It's such a thrilling and brilliant movie, at least as good as "Dark Passage", my other favorite Bogart film. And after having watched more than 95% of all Bogart movies, I seriously think that "Conflict" and "Dark Passage" are a lot better than "The Big Sleep" or "The Maltese Falcon" even though those are considered his best, but I still prefer Conflict & Dark Passage by far! I just find their plots so much more fascinating.10 stars.For years and years I was wondering why "Conflict" (and another film noir with Brian Donlevy called "Nightmare" (1942)) are not available on DVD and also are never on TCM. So I finally bought both of them at ioffer.com and I'm happy to have them now at home. It's such a shame that only one third (and not necessarily the best third!) from all old movies ever produced is available on DVD's.

2012-05-19 16:56:18

A Psychological Thriller

Again, Bogie plays a psycho, or so we think he is, he does a great job ofcovering it up, or blaming it on his sweetheart, or his wife, I forgot;haven't seen this for several months now, but it has that surpriseending;not what one would suspect!

davegrenfell 2012-05-19 15:04:56

Conflict?

Not the most imaginative title in the world. How about:Evelyn; The Red Rose; I want her Dead; Some come Back; Impulse Watching Bogie's detective stuff, you tend to forget he started off asbad guys. This is kind of a throwback to the earlier stuff, and isgenuinely shocking in parts. He really is a very, very nasty characterwho develops an obsession with his step sister, who really doesn't careif he lives or dies. Bogie heartlessly kills his wife, (because hewants to) faking an accident, then starts to find her personal objectshe thought he left with her, coming back around the house! Maybe sheisn't dead? Maybe it's her ghost?? Best bit: Bogie goes in apawnbrokers, finds one of her possessions and her signature in thegoods register, comes back with a cop, but; it's a different man! Andher possession isn't there! And her signature isn't in the book! Thefilm at times is sort of a cross between the Twilight Zone and Columbo.The ending is a bit weak and i suppose may be a reshot version. Thefilm as a whole would have benefited from some kind of shootout orgruesome, ironic twist, perhaps Bogie being driven mad, ending up in anasylum? Also, he seems to be wearing a lot of makeup to make him lookyounger, although that may be my imagination. I know he didn't usually,so i could be wrong.

blanche-2 2012-05-18 18:52:56

a little "Gaslight," a little "Two Mrs. Carrolls," a whole lotta Bogie

This is an obvious though very entertaining film with a cast thatincludes the radiant Alexis Smith, Sydney Greenstreet, and of course,the star, Humphrey Bogart at his sinister best. He plays an unhappilymarried man who is in love with his wife's sister (Smith). Greenstreetis a friend of the family.Considering the circumstances of his death, it's always disturbing tosee Humphrey Bogart with cigarettes, and if he's not smoking in this,he's lining them up in his cigarette case.Mystery loving audiences will pick up the all-important clueimmediately. Whether you do or don't, it's hard not to enjoy the moststandard of films with a cast like this. As an added kick, the film hasa psychological feature to it, which started to become all the ragetoward the end of WWII.

2012-05-18 03:59:25

A little known Bogart film

I am a collector of Humphrey Bogart films and was pleased to find this one on Amazon, as I had not known of its existence before. I enjoyed seeing the film, especially because it is not exactly the type of role he was used to in the forties. I was pleased to add this to my collection and look forward to preserving it to CD.Ron

David 2012-05-17 15:08:26

Predictable

When this shows up, I watch it, never seeming to remember that I'vealready seen it. It's very predictable. It's implausible. It'sforgettable.The cast is good. I always get a kick out of Sydney Greenstreet.Humphrey Bogart was a good actor, though I am not a slavish worshiperby any means. Alexis Smith does OK, as she always did. And Rose Hobartis an excellent, cold villain as the wife who -- well, I won't give itaway.She is too unpleasant. Why would the two of them still be married? Sheis an incessant nag and a scold, with never a kind word to say.And once we learn that Greenstreet is a psychiatrist -- it's prettyeasy to write the basic plot outline oneself.

madmonkmcghee 2012-05-16 20:20:58

Marital strife? Kill your wife.

On their fifth wedding anniversary a man and wife find out theirmarriage is a big mistake, and he's convinced her sister is in lovewith him. If only he wasn't already married.....Since this is athriller he does the logical thing and pushes his wife off a mountaincliff. But then he gets signs that she may still be alive. Is he losinghis mind or is he just a sloppy killer? The whole movie hinges on thefact that the viewer must choose either option as being true. Unlessthere's a third option, and just about anybody who has ever seen orread a mystery story will figure out soon enough what that is. Oh yes,Sydney Greenstreet's character is a psychiatrist, now what on earthwould that have to do with any of this? I wonder...... Apart from therather obvious plot there's isn't much suspense to make this aneffective thriller.Bogart's character seems more annoyed than scared byany of the strange goings-on, like finding his dead wife's jewelry inher safe. And when he finds out his wife's sister rejects him, so thewhole murder was in vain he's more unpleasantly surprised than shocked.The ending can't really come as a surprise to anyone. This movie is notwithout merit, and Bogart and Greenstreet are worth seeing in anymovie, but i had higher hopes for this.

Geofbob 2012-05-16 08:55:18

Dull but not noir

Though today, based on such films as Casablanca and the The Maltese Falcon,Humphrey Bogart tends to be regarded as the ultimate 40s hero figure -albeit a hard-bitten hero - in the actual movies of that period he quiteoften turned up on the wrong side of the law. In this weak murder drama,directed by German emigré Curtis (Kurt) Bernhardt, Bogie plays a middleclass man, Richard Mason, who because of a yen for his sister-in-law Evelyn(Alexis Smith), slays his wife (Rose Hobart), but then keeps findingevidence that she is still alive.The movie contains several of the stock noir themes - mistaken identity, obsession, guilt, (pseudo) psychological analysis and of course the killingitself - but there is insufficient darkness, cynicism and implied sex for itto count as a genuine film noir. (The tango, Jealousy, is used as the maintheme music; but it is not clear of its precise relevance in the plot.) Aparticular flaw is that the writers and director seem unable to make uptheir mind whether Evelyn should or should not reciprocate Mason's interestin her; and in the end decide to keep her virtue intact. There are alsosigns that the producers were apprehensive about the movie damaging Bogart'sreputation if he played an out-and-out villain, and towards the end of thefilm Mason seems to be shown in a better light - both metaphorically andliterally, as the film closes with sunbeams shining down on him as he is ledaway by the police! One of the best reasons for seeing the movie is Sydney Greenstreet'sportrayal of a psychologist; not as bravura as his Casablanca and Falconroles, but still subtle and commanding.

chandler-47 2012-05-15 20:04:21

Excellent Noir

This is a not much known film noir directed by Kurt (Curtis) Bernhardt.Starring Humphrey Bogart as the architect Richard Mason who kills hiswife because he is in love with her sister the movie switches from astraight forward crime story to a mystery when Mason gets letters fromhis wife though he knows she is dead. This is an clever idea but it'svery easy for an experienced crime novel reader to pre-construct themovie after thirty minutes if you listen closely. This is somehow aweakness of the whole movie, nevertheless the interest is still therebecause of the other qualities the movie offers. The screenplay and theediting is fast paced, the dialog is sharp without any paraphrases, theacting is to the point. The plot line offers another question: Is thesister of Richard Mason's wife also in love with him as he thinks sheis? Since we see the movie from his point of view it is very unclear."Conflict" creates a dark atmosphere and we see Mason acting like animmoral person which we also can call existencialistic. He does notquestion his crime, it seems it is just something that had to be done.Nice appearance by Sidney Greenstreet as the psychologist Hamilton.

2012-05-15 00:53:00

Overall a good film.

Fills family-noir genre well. Alexis Smith is a beauty and a believable draw. The complexity of the story develops well and mostly believably.I don't see how this film can be complained about really. If a person just did not like one of the characters they might bitch a bit.But overall this is an example of a well written and acted film that didn't become as famous as his other films since in noir the lead character is bad thus limiting your love for the bad-hero so these films arguably peak out at a 4 out of 5 but a very good 4 out of 5.

2012-05-13 21:17:46

good movie

I am watching this movie right now on AMC. It is just like it is described in the write up's. It is a good movie & Bogie is great as always.

2012-05-13 11:56:36

Bogart as an engineer

Warner Brothers had problems with all their big male stars. Edward Robinson, Jimmy Cagney, and then Humphrey Bogart all outgrew their gangster roles and wanted to do more engaging work. So each was launched on their path, with varying degrees of success, away from the gangster genre and into more fully flushed out roles.By 1945 Bogart had already redefined himself with "The Maltese Falcon" (1941), "Casablanca" (1942), and "To Have and Have Not" (1944), but "Conflict" (1945) was a step even further away from his re-defined persona. In this film he plans a married engineer, two elements that Bogart was rarely associated with. Moreover, he plays a murderer, and he hadn't played a villain since "Virginia City" (1940) and wouldn't play one again until 1948 ("Treasure of the Sierra Madre"). So we have several exceptions here - a married Bogart, who is an engineer and business owner, and a villain/murderer.In the first half of the film, Bogart gets to experience his new persona, and one can only imagine the theme is lifted from his personal life. On screen the married Bogart is attracted to the young girl and wants to leave his wife, just as the real 45 year old Bogart had been attracted to the 19 year old Lauren Bacall and left his older wife. Bogie and Bacall started their affair in 1944 and this film is dated 1945.In the second half of the film, Bogart returns to character and his speech and mannerisms are more like Sam Spade than the educated Richard Mason whom he is supposed to be playing.The real treat is Sydney Greenstreet who plays a Psychoanalyst. Psychoanalysis was all the rage in Hollywood in the mid 40s, and it intrudes heavily into this film. Other popular psychological dramatic films include Hitchcock's 1945 thriller "Spellbound", "Home of the Brave" (1948), and "The Snake Pit" (1949).Greenstreet had a distinguished film career. He debuted as Kasper Gutman in "The Maltese Falcon" (1941) and who ever had a better film debut. He went on to roles opposite Bogart in "Casablanca" (1942) and "Passage to Marseille" (1944). Greenstreet is wonderful in this film and apart from "The Maltese Falcon" this may be his best performance.Alexis Smith plays Bogart's young love interest. Smith was a popular co-star with such film giants as Errol Flynn (4 films, including "Gentleman Jim"), Bogart (2 films), and Frederick March ("Mark Twain"), Cary Grant ("Night and Day"), Clark Gable ("Any Number"), and Paul Newman "(Young Philadelphians"). Smith is perky yet conflicted and her scenes with Bogart are memorable.This was the second film for director Curtis Bernhardt. Bernhardt tries to shoot the film in a film noir tradition, but all things considered, it is a noble if failed effort. Bernhardt went on to make several unremarkable films, revisiting psychiatric treatment in "Possessed" (1947), and teaming with Bogart again in Sirocco (1951).The film is a reasonable thriller, marred by two plot flaws that I can't mention lest I spoil the film for you. Here's a hint - one revolves around a police action and the other is a function of the law.But don't be fooled by the people who describe this as "film noir". Yes, there are some noir touches, but many of the essential noir elements are missing. For example, there is no femme fatale and no real double (much less triple) crosses. True, there is murder, deception, and lots of night scenes, and the ending is hardly happy for some of the participants. Yet for some the film does have a happy ending, and there are none of the miscreant cast of shady characters that one expects from the traditional film noir.For Bogart fans the first half is a treat, and for fans of Greenstreet this is a real thrill.

bkoganbing 2012-05-12 07:22:40

Playing A Head Game

Conflict was the last film teaming of Humphrey Bogart and SidneyGreenstreet and for this one the roles were reversed. For once Mr.Greenstreet was a good guy and he set about to trap his friend Bogartwho he suspects of murdering his wife.I guess it's the psychiatric training for Greenstreet for that's whathe plays in Conflict. Bogart and wife Rose Hobart are a seemingly happycouple, but in fact they've grown quite apart and Bogart fancieshimself in love with Hobart's sister, Alexis Smith.One night he and his wife are to go up to a mountain hotel resort, butwork keeps him home temporarily at the last minute. Hobart drives upalone and doesn't return.Let's just say that an elaborate trap has been set for a man that thereis no direct evidence on. Let's say that Greenstreet's professionaltraining comes in mighty handy for the games that are played.Conflict is not in the same league as Maltese Falcon or Casablanca.Still it has a modicum of suspense and should keep the viewerinterested.

whpratt1 2012-05-11 22:43:52

Great Classic Film With Great Veteran Actors

No matter what film Humphrey Bogart performed in, you could alwayscount on a great performance and he was a born natural to the silverscreen until smoking was his down fall in 1957. In this film, HumphreyBogart(Richard Mason),"Caine Mutiny",'54, plays an entirely differentrole than he usually performed in and gets himself involved in a caraccident and shares the screen with Alexis Smith,(EvelynTurner),"Rhapsody in Blue",'45 who gives a great supporting role alongwith great Classic Actor, Sydney Greenstreet,(Dr. MarkHamilton),"Flamingo Road,"49, who tries to help Richard Mason come togrips with himself and face some very horrible facts about himself. Ifyou love Bogart and Greeenstreet in a great Classic film, just sit backand ENJOY.