Doctor Hamilton subscribes to Freudian psychology; he maintains that love, not money, is at the heart of all bad things. Conflict was directed by Curtis Bernhardt and written collaboratively by Arthur T. Horman, Dwight Taylor, Robert Siodmak, and Alfred Neumann. The cast includes Humphrey Bogart, Alexis Smith, Sydney Greenstreet, Rose Hobart, Charles Drake, and Grant Mitchell. Frederick Hollander composed the music, and Merritt B. Gerstad was in charge of cinematography. Despite being overlooked for quite some time, Conflict deserves a fresh look from fans of film noir. The story centers on Richard Mason (Bogart), trapped in an unhappy marriage with Kathryn (Hobart), whose unhappiness is worsened by his feelings for her sister-in-law, Evelyn (Smith). After reaching his breaking point, Richard kills his wife and intends to pursue Evelyn. However, when he begins seeing his deceased wife around town and finding some of her belongings appearing unexpectedly, Richard starts questioning his sanity. Essentially, it’s a psychological thriller with elements of German Expressionism, which isn't surprising given Bernhardt and Siodmak's involvement in the film's production. The focus on psychoanalysis would later become a common feature of film noir, and here it creates an interesting narrative as Bernhardt and Gerstad use shadows, rain-soaked streets, and treacherous mountain roads to enhance the atmosphere. A sense of inescapable doom permeates everything; the movie’s deliberate slow pace complements the somber mood as Richard Mason, a disturbed man, finds himself threatened. It doesn't take a brilliant mind to figure out what's happening, so the ending lacks some impact, but the atmospheric journey is worthwhile nonetheless. Bernhardt’s camera often feels like an intrusive observer watching Mason’s twisted plans unfold, and Hollander’s music reinforces the themes throughout. Bogart was reportedly reluctant to make the film, but in the finished product, it's clear that even if he wasn't initially enthusiastic, he gave one of his most compelling performances. Greenstreet is present as usual, portraying the family friend and psychiatrist who delivers key lines while always being a step ahead. Unfortunately, the two female lead characters aren’t well-served by the otherwise strong script, especially Evelyn, whose role as the trigger for the sinister events doesn't allow her to develop a meaningful emotional connection with Richard Mason’s psychological state. Nevertheless, when you have Bogart as an unstable killer in a trench coat and fedora, and a director who knows how to put him in the right visual settings, the film’s weaknesses can’t overshadow its strengths. It earns a 7/10.

Source on TMDB