Smash-Up: The Story of a Woman

This was Hayward's watershed film, thrusting her into the A-Bracket. That's not surprising since she delivers an ace performance as a down spiraling alcoholic wife. Angie's (Hayward) given up her singing career so that hubby Ken (Bowman) can shoot to the top of his. Trouble is he now neglects his wife, while his super organized assistant Martha (Hunt) attends to his every need. So Angie looks for consolation in one bottle that quickly leads to two, and so on. Now Bowman must take informal custody of their baby. Looks like both the marriage and Angie are doomed.

The movie's pretty strong melodrama with some nice touches by director Heisler, (e.g. the subjective camera conveying Angie's delirium). It's hard to picture the wooden Bowman as any kind of lounge singer; still he is recessive enough not to take focus from Hayward's central role. I expect that's why he was cast. Eddie Albert certainly has an easy way as nice guy Steve, while Marsha Hunt appears ice cold except for her one revealing scene, (btw, she's still with us as of 2015 at age 98, a fine actress whose career was unfortunately damaged by the blacklist). And catch the omniscient psychiatrist (Esmond) back when Hollywood was having a love affair with head doctors.

Anyhow, the film holds up as human interest, even if it long ago lost its cutting edge. Too bad there's that phony Code enforced ending. It's so abruptly brief, my guess is writer Lawson and director Heisler wanted to lessen the sappy impact as much as possible. Nonetheless, the film does showcase one of Hollywood's few glamour girls who was also a whale of an actress. RIP Susan.

A successful singer Angelica Evans (Susan Hayward) gives up her career and marries unsuccessful singer Ken Conway (Lee Bowman). She happily sacrifices for him and his partner (Eddie Albert). Eventually he DOES hit it big, she has a baby...but he never has time for her--his rising career comes first. She slowly drifts into alcoholism.

This was probably hard-hitting in 1947 (a female alcoholic) but it's not even remotely surprising today. It tiredly follows all the rules of a drama like this leading to a jaw-dropping happy ending that was TOTALLY unbelievable (but the Production Code demanded that). Also Bowman is pretty stiff as the husband and this looks pretty cheap (it WAS independently financed).

Still Hayward is so good all the shortcomings can be forgiven. She dives into the role full force and gives everything she has to it. This film (understandably) made her a star and earned her an Academy Award nomination. She's just incredible--it's worth sitting through just for her acting. Also Albert is very good in his supporting role.

So it is dated and really not that good--but worth seeing for Haywood's strong, impressive performance.

Popular nightclub entertainer Angie Evans marries struggling but adoring musician husband Ken Conway, and she retires to raise a family. His career soars, and he dotes on her with his new wealth. Still, she sinks into alcoholism. Despite a weak second half, and a pat, disappointing ending (I can't help but think the current ending was changed from the original script and reshot, as was "Magnificent Ambersons") there is much to recommend "Smash-Up". First is Eddie Albert's flawless work as the Conways' gumchewing family friend and songwriting partner. Secondly, there are three great songs by Harold Adamson and Jimmy McHugh. One of these, "Hushabye Mountain", sung in the Conway nursery, is sheer screen magic. And the "Life Can Be Beautiful" theme will keep you humming for weeks. Another big positive is the exceptional cinematography which jumps in and out of film noir, even in the nursery sequences, and not necessarily during only the "crisis" moments, which is refreshing. Lee Bowman, an underrated and talented actor, gives some depth to the part of the sainted husband, and his work will hold the interest of those who usually avoid this sort of thing. Susan Hayward does circumvent most (but not all) of her chances to chew the scenery as she self-medicates herself in an effort to control her personal demons. Still, this film is hers. It's worth your time.

Allegedly, Susan Hayward got this breakthrough role because every other Hollywood actress turned it down, due to the fact that it is the story of Bing Crosby's wife, Dixie Lee. Whatever, it got Susan an Oscar nomination and put her on the road to meatier parts.

As other comments have pointed out, this was probably considered very hard-hitting back in the day. But while it's true that "The Lost Weekend" tackled alcoholism, this is the story of a woman alcoholic, and that carries a lot of baggage with it - baggage Hollywood probably wasn't ready to face in 1947. One of the stereotypes of female alcoholism is promiscuity, a subject not broached here. Also, rather than a slovenly, bedraggled appearance, Hayward looks gorgeous throughout. Had this subject been handled more brutally, it would have been groundbreaking. In 1947, alcoholics like Gail Russell hid out at home, leading miserable, lonely lives. Here, Hayward gives up her own successful singing career to be the stay at home wife of Lee Bowman, whose career takes off. (In Bowman's dubbing, they even give him those mellow, rounded Crosby-like tones.) Boredom, feeling left out, and jealousy lead her to consume more and more alcohol, although it's clear from the beginning of the film that she drinks for courage before performing.

Her downward cycle and the ending of the movie are all a little too pat, but Hayward does a good job with the material she's given. Lee Bowman is miscast as her successful husband - he lacks the charisma, breezy manner, and flirtatiousness one would associate with a successful pop singer of the era and displays none of the ambition one would suspect Crosby and Sinatra, for instance, possessed. He also lacks the self-involvement one would associate with a star of that magnitude, which would in turn drive his wife out of his life. This is more the fault of the script and the direction, however.

Eddie Albert is charming and gives an honest performance as partner and concerned friend.

Recommended if you want to see a young Susan Hayward in a meaty role.

Anyone who passes up the chance to see Susan Hayward in "Smash-Up" because they've already seen her play a drunk in 1956's more popular "I'll Cry Tomorrow" are missing out on a great performance from the star. Hayward seems to relish her role in this extremely well-written melodrama deluxe involving a nightclub songbird who gives up her career to be a wife and mother. But when husband Lee Bowman's singing career takes off, she feels forgotten and falls back on her main weakness (always a little shy--maybe anti-social--she hits the sauce). John Howard Lawson wrote the screenplay from a treatment by Dorothy Parker (!) and Frank Cavett, and their dialogue has a canny ring of Hollywood-ized truth (meaning it's ripe with romanticized realizations). Far from camp, the movie shrewdly gives a woman who doesn't fall apart simply because of her husband's popularity--she had a streak of insecurity before they wed--and even a loyal friend of hers doesn't come racing to her rescue (she has to hit bottom, and even at the finale I wasn't totally sure she had embraced sobriety). Some odd moments: there's a quick scene with Hayward waking up in a stranger's house on Skid Row which isn't used for anything other than a bridge to the next scene, and the crucial last shot of Hayward and Bowman is muffed because Hayward has her back to the camera. Eddie Albert is very good as Bowman's accompanist (he helped Hayward out in "I'll Cry Tomorrow" too) and Marsha Hunt is fantastic as an executive with eyes for Bowman (her designs are subtle, but Susan catches them, leading to a great catfight). Glossy but not soft, "Smash-Up", which may have been loosely based on Bing Crosby's first marriage, was criticized at the time for being merely a distaff variation of "The Lost Weekend". However, it gives us a fine actress in her prime, and her strong performance here is well worth-seeing. *** from ****