El crimén del museo

Atmospheric both in Visual Style and Dialog this Film-Noir is One that was Made just at the End of WWII and there are many Lines that Cynically Reference the Conflict with a Snap-Patter that is a Noir Trademark. There are Many Noir Flourishes to Enjoy in this Murky Plot. Amnesia, Drug Induced Mind Control, Low-Brow Settings like a Penny Arcade in Mix with High-Brow Museum Art.

Pat O'Brien does His best as a Slightly Miscast and Overaged Lover that Requires some Physical and Emotional Stretches. But when He is not Romanticizing or Climbing Walls, it Works.

The Highlights of the Film are Noir. The Surreal Train Sequences, the Creepy Docks, and the Night Time Exteriors are Layered in Shadows and Render Foreboding Scenes. A Strong Cast and a Visually Arresting Movie with some Great Quotable Noir Dialog Elevate this Above a Muddled Plot. It is a Crackerjack Film-Noir and One that has been Mostly Ignored and Given Only Cursory Consideration.

Note...Film-Noir was an Organic Style that was Subconsciously Spawned Unknowingly by its Creators in a Collective Conceit Formed Unintentionally by the Artists who Drew from the Ether and Manifested a Sub-Genre of Movie-Making that has Endured. It is was not Pre-Fabricated and that Honesty is Forever On Display in a Genre, that was only Realised After the Fact, and it took French Film Critics to Piece it Together and Fans have been Thankful Ever Since.

There is a scarifying nightmare undercurrent to this postwar thriller that makes it a cut or two above the average. Pat O'Brien is an art curator who gets involved with some unsavory highbrow types, and suffers what may be either a mental breakdown, a train wreck, or both. It was directed by the very able Irving Reis, though Eddie Dmytryk or Robert Siodmak might have handled the suspense scenes somewhat better. John Paxton, who often worked with Dmytryk, co-authored the script. There are a couple of Orson Welles-Mercury alumni in the cast (Ray Collins, Erskine Sanford). O'Brien is oddly cast, and very good in his emotional scenes, though I might have liked this better had Dick Powell played the lead. Claire Trevor is solid as the romantic love interest, yet Gloria Grahame would have done just as nicely. Herbert Marshall plays what had become by this time a Walter Slezak part. The movie is in other words good but could have used a little more fine-tuning and slight adjustments in casting. As it stands it's okay. The payoff isn't nearly as good as the build-up, unfortunately, but there are two lengthy scenes involving O'Brien on a late night train that would have done Lang or Hitchcock proud.

Pat O'Brien is typically known for playing priests, the level-headed foil for James Cagney's explosive gangster. In other words, he's usually the least-interesting character in the film. 'Crack-Up (1946)' marks a welcome change-of-pace for the actor. No longer is O'Brien the calm, collected cleric, but a confused art critic at the end of his rope, doubting his own sanity as he battles murder and conspiracy. He perhaps isn't perfect for the role – the film's lurid moments would have been even more lurid had the lead actor been able to act more deranged – but O'Brien receives good supporting back-up from Claire Trevor, Herbert Marshall and Ray Collins. Director Irving Reis (best known for his "Falcon" series, though he also co-directed the annoyingly manipulative 'Hitler's Children (1943)' with Edward Dmytryk) does well to develop the film's mood, not afraid to dabble in a bit of surrealism to help translate the mental confusion and degradation of his main protagonist. There's also a little Freudian psychoanalysis in there, as was popular at the time, but the distraction it causes to the story is only an afterthought.

The role of WWII in shaping the film noir style should not be underestimated. In 'Crack-Up,' combat veteran George Steele (O'Brien) remarks that his greater fear in the trenches was that his mind might unexpectedly snap "like a tight violin string." These combat-related fears are here transcribed into a society ostensibly recovering from the war, suggesting that the shadow of the twentieth century's most costly campaign was still bearing over America, a sinister spectre of uncertainty and disarray. The film's undisputed centrepiece, though it is never adequately explained, is Steele's recollection of a train crash, a sequence that almost suggests an episode of "The Twilight Zone." As Steele watches the blazing beams of an oncoming train, time appears to stand still. He sits transfixed, calm and emotionless, a deer in the headlights. In classic film noir fashion, both he and the audience know what is about to happen, but all are powerless to stop it. The train barrels towards its predestined fate, a blistering collision of light and flames. Or does it?

Perhaps drawing some inspiration from Lang's 'Scarlet Street (1945),' this film noir concerns itself with the art of art fraud and forgery. The filmmakers' approach to the topic is strictly populist. At the beginning of the film, art critic Steele gives a lecture that openly denigrates the booming popularity of surrealism and "modern art," dismissing the style as being of use only to snobbish social-climbers {an unfair view, since Hitchcock had employed the services of Salvador Dali just one year earlier for 'Spellbound (1945)'}. It is these very same snobs who have planned an elaborate scheme to replace masterpiece canvasses (titled "Gainsborough" and "The Adoration of the Kings," respectively) with worthless replicas, before destroying the copies – not for monetary gain, but because they're snobs, and would like to have the classic works of art all to themselves. If all of 'Crack-Up' was as lurid as the opening sequence and train-wreck flashback, then Irving Reis would have had a masterpiece on his hands. As it is, we are left with an entertaining if occasionally stodgy thriller.

Pat O'Brien was wonderful supporting actor. Having him as your lead was kind of unusual -- not to mention having him play an expert in art. He does a great job, though, as does the whole cast. Claire Trevor, in a way, is the only major name actor. Ray Collins is good but maybe not up to the pivotal role he plays. In a small part, Mary Ware is very effective.

Charlie Chan movies occasionally involved art thefts or forgeries. Of course, there is the black bird in "The Maltese Falcon." But generally, this is an unusual setting for a film noir, which this definitely is.

It's tense but maybe not so tense as it might be. I like Hitchcock but do not worship at his feet. Whoever, had he directed this, it could have been a tight, thrilling picture. He'd have story-boarded it all before filming and we'd have been on the edge of our seats as ti played out.

He didn't, of course, and it's still a really good movie. It's noir with a highbrow twist, just as "Red Light" -- which I haven't seen in 15 years and wish would turn up -- is noir with a religious setting.

Back in 1946, when this film was released, it got very mixed reviews. The notable Bosley Crowther, in particular, panned it. I find it to be a better than average film-noir with a few twists to make it interesting. First off being the topic -- art forgeries -- not your typical underworld target in films. And, for me, it was enjoyable watching Pat O'Brien in the latter third of his career, after movies became a little more sophisticated.

A test for movie mysteries for me is, is there real suspense, or do clues just inexplicably pop up so that the movie can come to a conclusion. Using reverse on the DVR, I was able to go back several times and see when certain clues came up if it was logical or simply convenient. This film passed that test.

It has a surprisingly strong cast. Claire Trevor is interesting, as is Ray Collins. Herbert Marshall is always good, but one thing to take note of here is his real limp, which in most films is not noticeable (Marshall lost a leg in WWI).

Another thing that made the film interesting was how it portrayed life back in 1946. For example, the very good scene filmed at an arcade was very era-oriented, and certainly more interesting than had the scene just been shot in a restaurant or something of the sort...which most directors would have done. The night dock scene was also nicely done. And, these "location shots", though undoubtedly done at the studio, did look real.

So why do I rate this only a 7? Well, while Pat O'Brien is good, he seems a bit old for the part. For example, in one scene he shimmies down a very long chain that would be rather unlikely for someone nearly 50 years old (and clearly out of shape). And, he's not totally convincing as an art expert. But still, it's a decent performance.