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Genres: ThrillerFilm-N
Starring: Humphrey Bogart, Charles Drake, Rose Hobart, Alexis Smith, Grant Mitchell, Sydney Greenstreet, Patrick O'Moore
Director(s): Curtis Bernhardt
Country: USA
Year: 1945
Available Quality: DivX, iPod
IMDB Rating: 7 out of 10 (940 votes)
Richard Mason is slightly injured in a car accident but pretends greater hurt so that he cannot accompany his wife Kathryn on a trip to the mountains. He does, however, kill her on a lonely mountain road. Or did he? He smells her perfume, finds her jewelry, sees an envelope addressed with her handwriting. He must go back to the scene of the crime to find ... what?
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Visitors Review
mgrindberg (25 May 2012)
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.
(24 May 2012)
Engaging Psychological Murder Mystery
***SPOILERS*** ***SPOILERS***I like to call some movies (such as "Mirage"), "A Hitchcock movie not madeby Hitchcock." "Conflict" reminds me more of one of his hour-long TVshows,although more intricate and finely wrought. It is done with the samesardonic approach to the horrors that result from entanglement inmurder.Richard (Humphrey Bogart) and Katherine (Rose Hobart) have the perfectmarriage. At least, that's what all their friends think, includingskeptical Freudian psychologist Dr. Mark Hamilton (Sydney Greenstreet),whotells Katherine he is amazed -- that five years ago, when they married, hewouldn't have given it the slightest chance.But the story opens with Katherine accusing Richard of having fallen inlovewith her younger sister, Evelyn (Alexis Smith). He denies it, butKatherinehas sensed the truth. She says she will never give Richard a divorce, andthat Evelyn would laugh at him if she knew how he felt.At their fifth anniversary party that night, Richard moons over Evelynlikea lovesick puppy. On their way home, Evelyn's announcement of herincipientdeparture causes Richard such emotional turmoil that he runs the car intosomething (we never see what). He awakes in the hospital, and his firstwords are, "How is Evelyn?" Only later does he ask about Katherine, anddoesn't seem too happy to hear that she has escaped without ascratch.Richard tries to make it up with Katherine, but she withers him with,"It'sfunny how virtuous a man can be when he's helpless." He uses the factthathis is bound to a wheel chair as the mechanism to enact a plan that he hasobviously made, although we don't see him making it. He pretends he can'twalk, even though he has recovered. He puts on a convincing show for thedoctor, who tells him that his problem is mental now rather thanphysical.Richard sets up a vacation at their lonely mountain cabin, ostensibly toaidin his recovery. At the last minute, he fakes a business emergency andtells Katherine to go to the cabin without him; he'll meet her there thenext day. He drives ahead, intercepts her on a lonely, fog-bound mountaintrack, and kills her.Dr. Mark, who has been a sort of second father to Katherine and Evelyn, issuspicious from the first. Evelyn returns, and Richard is consumed bydesire for her. She submits to his attentions, and agrees to spend sometime with him at the mountain cabin.But things are far from perfect in this hellish paradise Richard hascreatedfor himself. Katherine's possessions keep turning up, as do people whoclaim they have seen a woman dressed exactly like Katherine was on the dayof her death. Richard becomes increasingly convinced that she is stillalive somehow. The uncertainty gnaws at him, and eventually causes him tomake a fatal blunder.Humphrey Bogart presages his role as Captain Queeg in "The Caine Mutiny"here, portraying a madman not as a hair-tearing raver, but in a subtle,understated manner that is much more chilling. (If you like this kind ofcharacter, it was also played masterfully by Robert Mitchum in CharlesLaughton's "Night of the Hunter.")Alexis Smith is utterly fascinating, combining sirenish seductiveness withwholesome, girl-next-door qualities in a way that is rare, and difficulttopull off. It is easy to see why Bogart is so obsessed with her and dumpshis shrewish wife for her.Sydney Greenstreet is at his enigmatic best (although perhaps not quite asgood as in "The Velvet Touch"), warm, jolly and seemingly innocuous on theoutside, but coldly calculating, relentless and almost vicious on theinside.Although the ending of the film is abrupt and a bit weak, the denouementissuperbly brought off by Greenstreet. The acting is strong, and thelead-upto the climax is handled with suspense that will grab your interest andnotlet go.
Bucs1960 (23 May 2012)
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.
LDRose (23 May 2012)
Interesting psychological mystery
Conflict stars Humphrey Bogart as architect Richard Mason, not in lovewith his wife (Rose Hobart) and infatuated with her sister Alexis(Evelyn Turner) Events soon take a sinister turn, when Richard hatchesa plot to murder his wife on a remote mountain road. Just when hethinks he has committed the perfect crime, things start to happen whichplant seeds of doubt in his mind.Sydney Greenstreet gives a fine performance as a psychologist friend ofthe Masons who offers useful insights into the criminal mind and givesyou food for thought as he voices his opinion on the human psyche.With good performances all round, this is an atmospheric mystery whichwill keep you guessing to the end.
leonard-1 (19 May 2012)
A moody film that invites speculation by the viewer
Every time I find myself driving on a lonely, densely wooded mountain roadwith precipitous drops just past the shoulder, I am reminded of the 1945movie `Conflict', a film that I view every year or so. When I recentlydiscovered that the story behind `Conflict' was named `The Pentacle',credited to Alfred Neumann and Robert Siodmak, I viewed `Conflict' again inorder to determine the relationship between the film and the word`pentacle'. A `pentacle' is roughly defined as `a five-pointed starenclosed within a regular pentagon, and enclosing a smaller regularpentagon'. The pentacle is a favored symbol among devotees of the occult,but `Conflict' is not a movie about the occult. The pentacle symbol appearsin `Conflict' as a visual motif, nagging the engineer Mason (HumphreyBogart) with memories of his terrible deed. The first appearance in thefilm of a clearly identifiable pentacle is a technical drawing depicting afive-sided bridge foundation to be used in shale by Mason's constructioncompany. Mason's imagination dreamily relates this drawing to a big pile oflogs hiding the wreckage of an automobile in a mountain valley, the resultof his grim obsession. Perhaps a `pentacle' of imaginary lines of mentalforce can be imagined by the movie's viewer as the engineer Mason (HumphreyBogart) appears in the center of a tense human pentacle, the five verticesof which are the psychiatrist (Sydney Greenstreet), Mason's wife (RoseHobart), the sister-in-law (Alexis Smith), the suitor (Charles Drake), and,finally, the police detectives. Changing the subject slightly, the tersedialog in `Conflict' always seemed to me to be very upper class English. Ihave often imagined the movie with a British cast of the period, with Masonperhaps played by Dirk Bogarde or Trevor Howard instead of Humphrey Bogart,the psychiatrist by Nigel Bruce instead of Sidney Greenstreet, and thepolice authorities cast as aloof Scotland Yard detectives instead offriendly American cops. However, the actual cast did just fine, in myopinion, with the result that I, for one, am an unreserved fan of`Conflict'!
tostinati (19 May 2012)
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.
(07 May 2012)
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!
(07 May 2012)
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.
David (05 May 2012)
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.
(05 May 2012)
Bogey can't survive a guilty conscience
Well to do engineer Richard Mason played by the venerable Humphrey Bogart has a perplexing problem in the rather average film noir "Conflict". He is desperately in love with Evelyn Turner played by the fetching Alexis Smith. Unfortunately he's married to her older sister Katherine played by Rose Hobart.So desperate is Bogey that while recovering from an auto accident suffered when returning home from an anniversary party thrown for him by family friend, psychologist Dr. Mark Hamilton played by a slightly less corpulent Sydney Greenstreet, he plots his wife's murder. Bogey tricks his wife into driving alone to the mountain lodge they frequent through some treacherous mountain passes. He beats her there and waylays her, plunging her car over a cliff with her in it. Unfortunately Bogey's plans go awry. Smith, while caring for Bogey can't allow herself to succumb to his charms owing to the memory of her sister.Although Bogey hasn't been implicated, Greenstreet is suspicious. In a carefully orchestrated ruse conducted by the police with Greenstreet's help, they create the illusion that Bogey's wife Katherine hadn't been killed and was still alive. They are hoping to pray on his conscience hoping he'll slip up.Even the considerable talents of Bogey and frequent supporting actor Greenstreet can't save this flick from being run of the mill. An extra star was given solely because of Bogart's involvement.
davegrenfell (05 May 2012)
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.
planktonrules (04 May 2012)
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.
madmonkmcghee (01 May 2012)
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.
sol (01 May 2012)
You shouldn't have said that Dick.. Even if you meant it.
**SPOILERS** Big time architect Dick Mason, Humphrey Bogart, had beenhaving he eye on his old lady's kid sister Evelyn Turner, Alexis Smith,ever since before he married the old bag, who's 14 years older the Eve,but just couldn't bring himself to make a play for her. It's Dick'swife Katherine, Rose Hobart, women's intuition that has her realize herhusbands feeling about her sister that cause a great amount of tensionbetween, in public, the loving couple. Dick finally gets his chance toput an end to his very unhappy marriage after he was involved in a carsmash up, by looking at Evelyn in the rear view mirror instead of theroad, that left him wheel chair bound with his passengers Evelyn andKatherine totally unhurt. Laid up at his house Dick with his mindworking overtime, but not on his job as an architect, concocts thisplan to get rid of his overbearing and nagging wife once in for all.Making like he can't walk which in fact he could Dick has Katherinetravel out to her, as well as his, favorite mountain resort-MountainSprings-telling her he'll meet her there later in the afternoon whenhis butler will give him a lift out there. Getting to Mountain Springsbefore Katherine Dick murders the startled woman, who never suspectedto see him there so soon, and dumps her and her car down a steep cliffwhere they gets crushed and buried by a sh*t load of fallen timber.With Dick thinking that he committed the perfect crime he now driveshome and plans to get it on with Evelyn after the mourning period forKatherine is over; Or so he thought!As things turn out in the movie Katherine instead of being killedsomehow seemed to have survived her, in what Dick wanted everyone tothink, tragic accident! Everywhere he goes, in the city or around thehouse, Dick sees things that Katherine had on her, when she wasmurdered by him, suddenly and unexpectedly pop up. It's as if shedeliberately left them here to screw up his already very confused andguilt-ridden mind. Even Dick's attempt to get romantically involved with Evelyn quicklyfalls apart in her sensing that he's not exactly playing with a fulldeck in his confusion in if his wife Katherine is still alive makinghim, if he ever marries Evelyn, a bigamist as well as a possiblemurderer! The final shoe to drop, on Dick's head, is when Evelynrealizing what a triple "A" nut-case he is and drops him for herboyfriend Professor Norman Holdsworth, Charles Drake, who's as nutsabout her as Dick is. The difference is that Norman didn't have tomurder or try to murder her sister in order to get Evelyn to fall inlove and marry him!The man who had Dick's number right from the start, as shown at thevery beginning of the movie, was non-other the legendary "Fat Man"-of"Maltese Faclon" fame-himself Sidney Greenstreet playing the part ofpsychoanalyst Dr. Mark Hamilton. It was Mark who in studying Dick'sbizarre behavior while his wife Katherine was both alive and latermissing soon came to the conclusion that he beside being slightlymentally unbalanced was also capable of murder as well! *** MAJORSPOILER**** But it was the gift of a rose that Mark, an armaturebotanist, gave to Katherine just before her fateful trip that tippedhim off to what that devious husband of her's Dick was really up to.That's when Dick not really knowing the significance of what that rosemeant, in his wife's disappearance, finally after covering all thebases ended tripping himself up!
Michael O'Keefe (29 April 2012)
Psychological mind bender. Bogart in top form.
Remarkable black and white; average crime drama. Police struggle to crackthe alibi of a savvy wife-killer(Humphrey Bogart), who admits on his fifthwedding anniversary that he is in love with his wife's sister(AlexisSmith).Bogart begins to worry when he finds little signs that may indicate thathiswife(Rose Hobart)is not dead after all. Very good support from SydneyGreenstreet.
(28 April 2012)
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.
(26 April 2012)
GREAT FILM NOIR!
This review is from: Conflict (1945) (DVD) Whoever wrote the script to this movie did a fantastic job.The twist and turns to this plot keeps you on the edge of your seat.I also like the way this movie was shot with a lot of shadows in the back ground.Very dark and sinister movie.
OldAle1 (26 April 2012)
Minor noir enlivened by terrific cast with Bogie and Greenstreet tops
Bogie is the star here, as Richard Mason, an architect in anoutwardly-seeming fine marriage to Kathryn (Rose Hobart), but who isreally in love with her younger sister Evelyn (Alexis Smith). Thecouple have a close friend, a psychology professor (Sydney Greenstreet)who gushes about how happy they are at an anniversary party, and thisonly makes things worse, especially as Evelyn is present. On the wayhome from the party, Richard crashes the car. The two women are safebut he injures his leg. While recuperating, he hatches a plot to doaway with Kathryn so that he can have Evelyn - despite no evidence thatshe loves him. He manages to get her killed in another auto accident,but soon finds evidence that she may still be around.Mason's deteriorating state, and the odd occurrences -- in particular agreat sequence in which he follows the apparent ghost or still-livingKathryn from a distance into an empty house -- are the best part of thefilm, and so I was disappointed that the ending was so abrupt and thespookiness brushed off as deliberate ploys on the part of Greenstreetand the cops, who know that he's guilty but just can't prove it. Bogartand Greenstreet are solid, and I liked the rather artificial sets whichgave it an "anytown" feel -- something that was lost with the locationshooting that tends to dominate later noir -- but overall this isfairly minor.
classicsoncall (22 April 2012)
"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.
jussssst (22 April 2012)
Similarities between «Conflict» and Hitchcock's «Vertigo» !
Have you noticed the similarities between, not only «Conflict» and«Vertigo» (1958), but also with «The Two Mrs. Carroll» (1947)? Indeed,in these movies, there is at least one of the following occurrences :1) A husband planning to get rid of his wife. 2) A woman who«mysteriously» disappears after entering a building while beingfollowed by a man. 3) A clue that gives away the guilty person (a rose,a necklace). I'll stop here : if you're familiar with the three moviesmentioned -- or just curious about the «mechanics» of goodsuspense/noir films plotting -- then I'll leave it to you to find moreconnections. You may argue that, since «Vertigo» came after the others,if any «imitation» is to be pointed out, then Hitchcock's film would bethe one to «blame». Perhaps.... Yet, none of the other two come closeto the first part of «V.», in the atmospheric and hypnotic suggestionof a «romantic ghost».
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