After the success of The Lodger (1944), John Brahm and Laird Cregar collaborate once more on Hangover Square, a masterful adaptation of the same-titled novel by Patrick Hamilton (1941) and a shining example of suspenseful filmmaking.
In early 20th-century London, George Bone (Laird Cregar), a gifted composer, is working on a piano concerto that a famous conductor, Sir Henry Chapman (Alan Napier), wants to perform at one of his soirees, much to the delight of Henry’s daughter Barbara (Faye Marlowe), who is in love with George. However, George suffers from blackouts brought on by stress and discordant sounds, leaving him with gaps in his memory. Seeking help, he consults Dr. Alan Middleton (George Sanders) at Scotland Yard, who recommends he take a break and relax. Taking this advice, George visits a working-class pub, where he meets Netta Longdon (Linda Darnell), an ambitious and conniving singer, and becomes enamored by her. However, Netta and her manager, Mickey (Michael Dyne), are only interested in having George compose music for their songs to further her career. Her deceit and exploitation push George further into emotional torment, worsening his blackouts, which take on a darker and more destructive nature with devastating consequences.
Hangover Square’s screenplay, written by Barré Lyndon, whose actual name is Alfred Edgar (who also wrote The Lodger), immediately reveals all the cards in front of the audience without relying on twists and turns, placing it in the suspense category (viewers having more info than the characters in the film). As a result, the film’s success hinges on creating and maintaining tension and heightening the audience’s anticipation, which the makers accomplish with perfect finesse. In this tightly paced 78-minute film, the first act swiftly acquaints the audience with George and his world, including his medical condition and its triggers (visually represented by blurred camera work to signify his trance state), his career as a composer, and his dynamics with Barbara. However, the only gripe I have of this screenplay is that George’s character isn’t fully fleshed out. His relationship with Barbara is unclear, and we never learn why a normally calm and collected guy like him becomes violent when in a trance state. Is this a result of some old trauma? Does he have a hidden rage or violent streak? The screenplay fails to provide answers to these questions.
The film’s second act shifts to a romantic drama as George becomes entangled with Netta, a deceitful woman who exploits him and his musical abilities for her benefit. She embodies the ideal femme fatale, a character that could elevate any noir film. A few key scenes beautifully demonstrate how a woman can use her sexual prowess and beauty to control any man and get what she wants, including one scene exemplified by George’s futile attempt to avoid her manipulation, only to fall prey to her allure. As a result, by the conclusion of the second act, as a consequence of his relationship with Netta, his condition has worsened, and it continues to deteriorate. This sets the stage for an incredibly dramatic and suspenseful finish, where the tension is sustained and progressively amplified, fueled by the uncertainty of George’s specific medical condition.
Even though the screenplay has weaker moments, the film compensates for John Brahm’s superb direction and ability to craft a story with stunning visual flair. Consider the bonfire sequence near the end of the second act—an absolutely breathtaking and tension-filled sequence where George, during a blackout episode, kills someone, wraps the body, and carries it through the streets. The brilliance lies in its setting on Guy Fawkes Night, as revelers carry effigies to burn in the bonfire, allowing George to blend in and throw the body into the flames, igniting it instantly. It’s a masterfully directed scene that Brahm enjoyed so much that he used it in his directorial 3D film, The Mad Magician (1964), and its influence can also be seen in the finale of Candyman (1992)
In addition, Bernard Hermann, a Hitchcock regular, provides a stirring score for Hangover Square, one of his finest works, which serves to heighten the suspense to new levels, especially in the film’s climax sequence. As the sequence progresses, the score becomes increasingly menacing, while sweeping camera work and well-timed cross-cutting build to a devastating climax that gives the film’s tragic ending profound emotional weight. Brahm was so thrilled with Hermann’s composition that he described it as one of the few times he had the opportunity to direct to music.
Although the screenplay doesn’t fully explore George’s character, Laird Cregar’s exceptional portrayal brings a sense of vulnerability and helplessness to the character, making us empathize without pitying him, especially during his moments with Netta. Cregar was initially hesitant to play George because he was afraid of being typecast as a villain. However, he eventually agreed to perform the role because he hoped his romantic sequences with Linda Darnell and Faye Marlowe would reshape his public image as a powerful leading man. Unfortunately, Cregar died two months before the film’s release as a result of difficulties from the weight loss he was attempting to attain to be accepted as a protagonist. Having watched The Lodger and Hangover Square, it’s safe to say that his career had great potential but was tragically cut short.
Hangover Square movie links: Letterboxd, Wikipedia
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