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.

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.

A radio singer's wife turns to self destruction through alcoholism when her husband's success interferes with their life. Although it looks dated now and obviously was not a big budget Hollywood film, but this was Hayward's breakthrough performance and deservedly earned her a first Oscar nomination.

Susan Hayward's fine performance, for which she is deservedly well-remembered, is easily the best reason to watch this feature. Overall it is not bad, but mostly unremarkable, and it is Hayward's ability to make her character interesting, believable, and sympathetic that makes the rest of it work.

The story has many familiar elements, with Angie (Hayward's character) sacrificing her singing career for the sake of her husband's own singing career. Her ups-and-downs, her battle with alcoholism, and her fears about her relationships all provide good material for Hayward to work with.

As the husband, Lee Bowman is quite bland and one-dimensional, so much so that it almost looks deliberate. Eddie Albert helps out as the husband's partner, and Marsha Hunt gives a good performance as Angie's cold-blooded rival. Carl Esmond gets a couple of good moments as the caring doctor who tries to set things right.

While much of the story follows familiar formulas, it does bring out a few useful thoughts, and more than that it allows for a well-developed look at its main character. Its strengths as a character study and as an acting performance make it worthwhile, despite a few weaknesses elsewhere.

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.