Museu de Horrores

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.

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.

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.

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.

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