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... See full summary »
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 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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Hayward it terrific, but so is the filming and the rest of the cast...a good one!
Smash Up (1947)
A moving, dramatic story of a singer and then wife and mother and her battle with alcohol. At first you don't know this is going to figure, and it seems to be about a female singer stepping aside to let her new husband's singing career rise. Which it does. And singing dominates the first half to the point of being a musical (and to the point that some viewers might give up on it).
But don't. It's a really good film, the voices are strong even if very old fashioned, and the leading woman's performance is all out, really terrific. She got an Oscar nomination for this role and it's no wonder.
The leading man was probably chosen for his silky rich voice, but Lee Bowman is a very natural actor, and he keeps up his end of the relationship. And this relationship suffers, thanks to career and to the sharp looking and devious Marsha Hunt playing a secretary who likes this singer too much. There are lots of great scenes of parties and night clubs, and even (by contrast) raising a baby. There are lots of movies with these kinds of themes, including a baby who has a brush with death (I give nothing more away), and everything is played out with elegance and smarts.
The elegance comes from great cinematographer Stanley Cortez ("Night of the Hunter") and the smarts come from director Stuart Heisler ("The Glass Key") who never quite rose to his potential in the industry, turning eventually to television. The supporting cast is terrific, including a very natural and likable Eddie Albert, but it's Hayward to eventually steals the show. See her!
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