La banda dei falsificatori

Art critic O'Brien is menaced by unseen forces and must find out who and why.

No doubt about it, that train wreck scene is brilliantly conceived and edited. In fact, the whole train sequence amounts to an atmospheric triumph. Catch the passenger car interior when O'Brien opens the door—it fairly oozes closed-in flesh, along with that shrewish wife scolding her hubby on the evils of drink. Few films manage a truly memorable sequence, but this one does.

Otherwise, it's a decent noir, though I agree it's also over-plotted and under-explained. Plus, many of those many narrow escapes are simply too contrived to stick. The movie's more one of compelling parts than a successful whole. Nonetheless, O'Brien handles his part in suitably restrained fashion, besides few actors were better at "drop dead" brush-offs, of which he gets to do several. Looks like the normally fast-talking Irishman was refashioning his image to align with the post-war crime drama craze.

But my money's on the great Ray Collins. Was there ever a smoother actor, from Citizen Kane (1941) to TV's Perry Mason of the 50's and 60's. Here, he delivers in sinister spades. Then there's poor Mary Ware as the loyally devious secretary. I'm sure she was cast for her totally innocent demeanor and looks, the better to hook the audience. But then, oh my gosh, she has to speak her lines.

The movie's subtext is in line with the war's common effort and everyman spirit. The villains act as properly outspoken elitists, first cousins presumably of the recently defeated Nazi's. At the same time, I thought art critic O'Brien's little lecture on the role of "art is what I like" made good sense.

All in all, it's a strongly visual, if somewhat turgid, noir that probably did train travel no favors.

A thriller in the popular post-war noir style, CRACK-UP (1946) is not a top-grade film noir, but it does incorporate some interesting ideas, like x-raying paintings to determine if they are forgeries.

Pat O'Brien (ANGELS WITH DIRTY FACES) is a WWII vet and art curator who gives lectures on paintings at an art museum. While trying to account for his actions one strange night, he finds himself pretty deep in some kind of criminal racket. On the lam from the law, he decides to get to the bottom of things on his own. (O'Brien is a street-smart art curator, knowing how to evade the police, sneak into and out of buildings, and arrange meetings in shady places.) He's mixed up in something serious. He knows too much. His life is in danger. Can he trust *him*? Can he trust *her*? Should he be trusting anybody at this point?

There are a handful of secondary characters, but the film doesn't take the time to explain who they are or what their deal is. We only know that they are associated in some way with O'Brien and/or the museum. And we know that one of those people in the room must be the "bad guy". And so the guessing game begins.

Why is Herbert Marshall so interested in O'Brien's activity? What was that person doing on the night of the murder? Is that a crooked cop? Why didn't the cigarette boy recognize him? Who's that lurking in the shadows? Could O'Brien be betrayed by *them*?

The final solution to the art theft mystery seems like too much work, too much risk, and too much bloodshed to be worth it all. (And what good is a painting that's too hot to be displayed for anybody?) But what do I know about great art?

Pat O'Brien is past his 1930s prime and looking a bit William Bendix-y around the edges. He is joined by the lovely Claire Trevor, a film noir staple, as an old friend and his only true ally. The cast also includes Herbert Marshall, Wallace Ford, and Ray Collins. The film has some typical noir touches, and the art theme is unique. Seeing the x-rayed paintings is fascinating, so the movie has that going for it. But the film overall doesn't stand out. It's okay, but not great.

Pat O'Brien is a war veteran and art expert who may just be on the verge of going nuts in "Crack-Up," also starring Claire Trevor, Herbert Marshall, Ray Collins and Wallace Ford.

After breaking down the door at the museum where he works and smashing a statue, George Steele (O'Brien) is knocked out. When he comes to, he believes he was in a train wreck.

A man on mysterious business at the museum (Marshall) convinces the police (Ford) to release Steele and watch him. Steele investigates matters and begins to undercover some dirty work at the museum.

This is an okay noir that has good performances, atmosphere, and a decent plot. O'Brien is a character man who is not usually the lead in a film; it's possible that "Crack-Up" would have been stronger with a true leading man, perhaps Van Heflin, who certainly would have been believable as an art expert and had some panache as well.

O'Brien, a solid actor, nevertheless pulls off the role and gets strong support from Marshall and Claire Trevor as his girlfriend, who add the sophistication that befits the high-brow museum plot.

"Crack-Up" could have used a little more spark, but it's entertaining.

Crack-Up is directed by Irving Reis and collectively written by John Paxton, Ben Bengal and Ray Spencer from Fredric Brown's story Madman's Holiday. It stars Pat O'Brien, Claire Trevor, Herbert Marshall, Ray Collins, Wallace Ford and Dean Harens. Music is by Leigh Harline and cinematography by Robert De Grasse.

Art curator George Steele (O'Brien) believes he has been in a train crash, but he's told that no such crash has occurred. Is he cracking up, or the victim of something sinister?

I'm not trusting anyone this week.

Out of RKO, Crack-Up is an above average film noir that is apparently under seen. It thrusts George Steele on a crusade to prove he is not losing his mind and on his way to residency at Bellevue Psychiatric Hospital. As he trawls around the city with a foggy head, his thoughts still remembering his service in WWII, he tosses off sarcastic quips and evades tricky situations with guile and ingenuity. Who can he trust though? If anybody?

I'm outta my head. I drive around in cars picking up psychopathic killers.

His journey encompasses a number of locations that are expertly born out for noirish purpose. Smokey steam train, dimly lighted station, a ship of many murky corners, the harbour as well, a penny arcade and of course many damp streets at night that are ripe for conversations; both hushed and threatening. With Reis (The Gay Falcon) and De Grasse (The Body Snatcher) using chiaroscuro effects, the atmosphere is suitably eerie, dovetailing perfectly with George's psychologically paranoid funk.

About as smart as cutting my throat to get some fresh air!

Set to the backdrop of the art world, the narrative has an opinion on art styles and snobbery while wrapping the plot around the crooked line of forgeries. It's not wholly successful for dramatic worth or intrigue, and in fact the visual presentation and very good performances of O'Brien and Trevor deserve a more cohesive story and a motive revelation of the crimes considerably stronger in substance.

However, with its technical attributes most positive, some very well constructed scenes (the train crash sequence is excellent) and noir staples in place (amnesia, shady characters, sleuthing for truth et al), Crack-Up is well worth checking out. 7/10

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.