Hangover Square

If you admire good acting, directing and cinematography, this is a good movie to watch. It combines all of those elements. Whoever did the DVD transfer is to be complimented, too: the picture is sharp and the lighting is outstanding.

After a quick shocking opening, the story settles in for awhile and you have to stick with it. If you're used to modern movies, you'll get bored but if you hang around "Hangover Square" to where the main figure commits his second crime, the rest of the film gets better and better from that point. So does the direction and the photography. Kudos to Director John Brahm for a variety of interesting angles, from floor level to above-ceiling, through peep holes and anywhere else he could think of to shoot the scene.

If you're a fan of film noir, Cinematographer Josesph LaShelle's work here will keep you enthralled. Once he gets rolling, scene after scene is jaw-dropping in his array of lights and shadows - superb stuff.

Laird Cregar, meanwhile, is mesmerizing as "George Harvey Bone," a demented composer who, upon hearing discordant notes, literally goes insane and gets violent, intending to choke the life out of the last person who got him upset. What a shame the young Cregar never lived to see his great performance on screen. Read his biography here on IMDb, as it is interesting and tragic. In fact, if you rent or have this film's DVD, check out the 20-minute bonus feature of Cregar's career. The fact that the actor is still talked about in reverent tones in Hollywood some 60 years after his death, is a testimony to his acting prowess. particularly since his career was so short.

Linda Darnell adds a lot of sex appeal and evilness to "Hangover Square" and George Sanders - surprise - plays a good guy. How often do you see that?

The finale in here also is incredible - one you are guaranteed to remember!

Now that "Hangover Square" is available on DVD with such a great transfer, I highly recommend it.

In this variation on the Jekyll and Hyde story, a composer has sporadic episodes where his subconscious takes over and he has no recollections of his actions during these lapses when he comes to. This film reunites Cregar and Sanders with director Brahm from "The Lodger" the previous year, and, like the earlier film, it is visually opulent but the story is less than compelling. Cregar gives perhaps his best performance in this, his final film before his untimely death at age 31 just as he was coming into his own. Darnell, who would also die young, is a sensuous presence as the object of his obsession. Herrmann provides an impressive score, including a piano concerto used in the finale.

Laird Cregar stars as George Harvey Bone, a turn of the 20th century London composer. He's busy working on a concerto, but gets distracted by a chanteuse named Netta Longdon (Linda Darnell). He gets his heart broken by this self-serving lady, who's only interested in what he can do for her. Meanwhile, he keeps suffering prolonged "episodes" - brought on by loud, discordant noises - and he can't remember what he does or where he goes during these periods. As it turns out, he becomes impulsively murderous.

"Hangover Square", named for the London address at which Bone resides, was scripted by Barre Lyndon, based on a novel by Patrick Hamilton. Sadly, it would turn out to be the final picture for Cregar, who suffered the ill effects of an attempted crash diet. But he certainly goes out in style, creating a vivid character who's far more sympathetic than the character he played for director John Brahm in "The Lodger". While the other cast members are good, this largely remains his show - one that his character sees through to the bitter end.

Darnell and the equally lovely Faye Marlowe are intoxicating as the women in his life. One does feel disgruntled on Bones' behalf when Netta reveals her true colours. George Sanders is his typical classy, dapper self as an analyst working for Scotland Yard. Glenn Langan is amusingly smarmy as Bones' rival for Nettas' affections. And Alan Napier, Michael Dyne, and Frederic Worlock lend able support in various other roles.

While the excellent black & white cinematography by Joseph LaShelle is definitely a key element, the film works best as a marriage of image and music. Bernard Herrmann is one of the most valuable assets that the film can boast, as his lush score & concerto provide the perfect accompaniment for these melodramatic goings-on.

One clever highlight: Bone taking advantage of a fiery Guy Fawkes celebration night.

Eight out of 10.

My parents took me to see this when I was 8 & I had nightmares about it for a month or more - compounded by the knowledge that the lead, the great Laird Cregar died shortly after his appearance in it (of complications from dieting - at age 28!). The total immersion of this film into the clinical madness of a composer who cracks up when he hears discordant sounds & the greed & opportunism of his paramour give it a real nasty Edwardian gothic mood. There are scenes of creepiness here that seem almost the prototypes for Hitchcock classics like Psycho & Vertigo. (Bernard Hermann wrote the composer's scores as well as the background music). But it's also a great exercise on good vs evil, apollo vs dionysius & above all high art vs low art. The 2 main leads, Cregar & Sanders, the director & writer were involved in the making of The Lodger - a Jack the Ripper film - the year before.

Famous Composer George Harvey Bone (Laird Cregar) turns from gentle giant to violent murdering psychopath when prompted by certain sounds - he can then recall nothing. Into his life comes tricky nightclub singer Linda Darnell who uses him to write popular songs that she can use / sell - he becomes bewitched.

Glorious piece of Grand Guignol evoking Jekyll and Hyde and a foggy, chestnut roasting London. The story is well played out and full of memorable scenes without going over the top. At the centre of it all is Cregar, hugely impressive as both a sweet, gentle man and an evil killer. He is well supported by Darnell who is good at being bad and George Sanders as the psychiatrist / amateur detective. Bernard Herrman's score is one of his best and used well throughout, but particularly in the climactic scene which is truly terrific.