Smash-Up: The Story of a Woman

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.

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.

There is a lot to like about this film and it's sure a shame that it's not better-known. Unfortunately, Miss Hayward was later given an Oscar for her WAAAAAY over the top performance in I WANT TO LIVE, whereas she only was nominated for this film. Oddly, Loretta Young won for THE FARMER'S DAUGHTER, a kooky and not particularly deep film--in my opinion Hayward definitely deserved the award. Perhaps she lost since she was a relative newcomer.

The reason I liked the film so much was that it was an excellent study of alcoholism as well as the contribution an enabling spouse can have on the drinking. This aspect of alcoholism was not explored in the award-winning LOST WEEKEND, plus LOST WEEKEND ended on a very unrealistic and overly optimistic note that just didn't ring true. In most ways, SMASH-UP was a better film (though the scenes of Ray Milland having DTs were incredible).

By the way, if you liked this film and want to see an even better film on drinking and a destructive relationship, try DAYS OF WINE AND ROSES--perhaps the best study of alcoholism ever put on screen.

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 ****

Smash Up (1947)

A moving, dramatic story of a singer and then wife and mother and her battle with alcohol. At first you don't know this is going to figure, and it seems to be about a female singer stepping aside to let her new husband's singing career rise. Which it does. And singing dominates the first half to the point of being a musical (and to the point that some viewers might give up on it).

But don't. It's a really good film, the voices are strong even if very old fashioned, and the leading woman's performance is all out, really terrific. She got an Oscar nomination for this role and it's no wonder.

The leading man was probably chosen for his silky rich voice, but Lee Bowman is a very natural actor, and he keeps up his end of the relationship. And this relationship suffers, thanks to career and to the sharp looking and devious Marsha Hunt playing a secretary who likes this singer too much. There are lots of great scenes of parties and night clubs, and even (by contrast) raising a baby. There are lots of movies with these kinds of themes, including a baby who has a brush with death (I give nothing more away), and everything is played out with elegance and smarts.

The elegance comes from great cinematographer Stanley Cortez ("Night of the Hunter") and the smarts come from director Stuart Heisler ("The Glass Key") who never quite rose to his potential in the industry, turning eventually to television. The supporting cast is terrific, including a very natural and likable Eddie Albert, but it's Hayward to eventually steals the show. See her!