Angie Evans, fast-rising nightclub singer, interrupts her career to marry struggling songwriter Ken Conway. When Ken lucks into a career as chart-topping radio crooner, Angie is forced into...
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Angie Evans, fast-rising nightclub singer, interrupts her career to marry struggling songwriter Ken Conway. When Ken lucks into a career as chart-topping radio crooner, Angie is forced into idle luxury which proves her downfall. Her potential alcoholism burgeons and Ken remains clueless concerning his responsibility for her problems. Written by
Rod Crawford <email@example.com>
The motion picture Production Code Administration (PCA) tried to dissuade Walter Wanger from making the film, because the subject was recently explored in the movie The Lost Weekend (1945), and excessive drinking violated the production code. Wanger convinced them that it is permitted for furthering the plot and characterization, and he was given PCA approval. See more »
Angelica 'Angie' 'Angel' Evans Conway:
I read someplace from the Chinese or the Egyptians or somebody. It said these are the three worst things: to lie in bed and sleep not; to wait for one who comes not; to try to please and please not. They all fit me, don't they?
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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.
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