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HANGOVER SQUARE is one of my favorite films in which LAIRD CREGAR appeared--in fact, his last before a crash diet ruined his health and led to his death at age 28. Seeing him in this film, made me realize what a wonderful Rochester he would have made in '44's JANE EYRE. He had the kind of presence that looms over every frame of this film, even when he's not actually in the scene.

He's a troubled musician who reacts violently when he hears certain discordant sounds. LINDA DARNELL makes an attractive romantic presence in her period costuming (it takes place in Victorian London), and GEORGE SANDERS does a nice job as a doctor (a good guy for a change).

The scenes that stand out are Cregar climbing the ladder of a bonfire to dispose of his latest victim and the finale where he's playing the piano in a deserted building as the flames spread around him--all the while Bernard Herrmann's score is making an impact.

It's a delicious LAIRD CREGAR performance and a fitting finale to his short but illustrious career. It's somewhat similar to a previous film, THE LODGER, another Victorian thriller he did with Merle Oberon.

Though it's virtually impossible to find a copy of this buried treasure, it's worth a fair bit of digging. (The film is available on tape only, in mediocre print condition, and carried by only a handful of rental stores in the country.) It's not a brilliant film, but it has some virtuoso camera work that one would never expect to find in a filmi of its type. (Watch for the camera shot in the first seconds of the film that swings quickly up from a crowded street, through a window, and into a tight

closeup of the face of a man about to be killed - very impressive.) This is the type of film one can imagine Martin Scorsese taking an interest in - a skillful, craftsmanlike film overlooked by all but a few film buffs. The performances as well, especially Laird Cregar's, are terrific.

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.

Hangover Square is the last film Laird Cregar made in his brief, remarkable career. Freely adapted from Patrick Hamilton's novel, it was directed by John Brahm, photographed by Joseph LaShelle, and features a memorably thunderous score by Bernard Herrmann. Like the previous year's The Lodger, also a Cregar-Brahm collaboration, this is a killer on the loose in Victorian London movie. Aside from some fancily shot scenes early on, this would not in itself be an extraordinary film but for Cregar's portrayal of the lead character, a man who murders when he hears loud, sudden noises. In his quieter moments the man is, of all things, a composer!

There are many fine scenes in this film but it's basically Cregar's show from start to finish, and he does not disappoint. His performance is so brilliant, empathetic, nuanced, and for all the melodrama, utterly believable, that it's impossible not to focus on him at the expense of the rest of the movie.

Perhaps the best way to describe Cregar's acting style here is to imagine A Streetcar Named Desire being performed entirely inside someone's mind, with the characters of Stanley and Blanche being played by the same actor, in a Victorian setting, disguised as a murder story. One wonders where Cregar found the inspiration for such work. He was one of the greatest actors to ever grace the screen, and one of the most enigmatic. American-born, he tended to play Brits. Unlike his fellow American Anglophile actor and friend, Vincent Price, he had no education to speak of. Within a span of less than five years he went from supporting player to star. In this movie he is top-billed over Fox hottie Linda Darnell. Not too shabby for a morbidly obese man several inches over six feet in height who, while still in his twenties, was playing men well into their forties.

Cregar had a way of making even accomplished co-stars like Cedric Hardwicke and George Sanders look like amateurs by comparison. He wasn't even trying to. One should watch his films to see what a great actor is like. His roles weren't always great, but he was. Forget Sean Penn and his tantrums, or Meryl Streep's mannered Yale Drama School flair for accents. Cregar was the real deal. The only American actor I can think of who could give him a run for his money would be Brando. Sadly, Cregar was as tormented as he was gifted, was full of self-hatred, for a variety of reasons, and went on a crash diet after completing this film in the hope of becoming a romantic leading man. But he lost the weight so fast it killed him. He was twenty-eight years old.

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.

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.

Subject to lengthy spells in which he cannot recall his actions, an overworked London composer begins to question whether he is committing murders during his blackouts in this stylish thriller starring Laird Cregar in his final big screen performance before his untimely death. Cregar is excellent throughout, especially towards the end as he gradually becomes more and more unhinged, and his fiery final scene is hard to forget. The film has some pacing problems though with around half the movie's duration passing between the first and second murders/deaths. While the events during this lengthy interim provide some extra character motivation, is never particularly interesting to watch small time nightclub singer Linda Darnell constantly toy with the (unbelievably) gullible Cregar's emotions. The second half of the movie is admittedly pretty solid though and Bernard Herrmann's atmospheric music score is excellent throughout, nicely coinciding with the heightened sound effects that indicate that Cregar is about to black out. Blurry closeups of Cregar's wide open eyes as he begins to blackout works surprisingly well too (cinematographer Joseph LaShelle had just come off an Oscar win for his luscious lensing of 'Laura' at the time). It is debatable how psychologically sound the story is here, however, it nevertheless makes for an interesting look at the possible effects of elevated stress on an individual, and if nothing else, the film features the most morbid Guy Fawkes celebration scene ever committed to celluloid.

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.

I found it impossible to watch this highly-charged melodrama without thinking of the sad fate of its leading actor Laird Cregar, who embarked on a crash diet to lose weight in the hope of getting less stereotypical "heavy" (no pun intended) roles but died of a likely related heart attack before this film was released. You can see here that he's less bulky than in some of his previous films and can certainly understand his artistic frustration but what a shame he died so young at age 31.

This movie may just be another Gothic-flavoured murder mystery set in period London after the manner of "Gaslight", "Dr Jekyll and Mr Hyde" and even the immediately preceding film of Cregar, his co-star George Sanders and director John Brahm, "The Lodger", but it's well staged, acted and filmed from first to last.

Cregar is the aspiring young classical music composer all set for an artistic breakthrough and happily in tow with his loving fiancee and her well connected orchestra conductor father, only he keeps experiencing black-outs when he hears discordant sounds and when he wakes up later, someone in the neighbourhood has been murdered. There's no whodunit here, it's made obvious from early on who the killer is although no real explanation is offered for his condition. Moreover his otherwise well-ordered life takes a sharp south turn when he encounters good-time girl singer Linda Darnell, keen to exploit his almost immediate infatuation with her and so derail his serious musical ambitions by coaxing him to knock out catchy pop songs to boost her raunchy stage show. This artistic / lover's dilemma is carried through to a spectacular pyromaniac conclusion as Cregar's burning love and ambition are expiated in true "Phantom Of The Opera" style.

Sure it's hokum from the get-go but director Brahm's flair for Noir-ish scene-setting with excellent use of shadow, low-angle shots and impressive sets creates a darkly atmospheric backdrop to proceedings. Especially noteworthy are his use of high dolly tracking shots, particularly for the suitably over-the-top climax and the distorted lens to portray Cregar's madness. There's also an early, fine, dramatically macabre score by Bernard Herrman later to work so well with Hitchcock and others.

Cregar's fine playing in the lead (he even looks the part when playing the piano) is well supported by George Sanders as the friendly but maybe not completely altruistic police doctor on his trail (he seems to have designs on Cregar's girl) and Darnell as the unscrupulous but undeniably sexy chanteuse.

Who knows if Cregar's hoped-for physical transformation might have similarly changed his career path but as they say, be careful what you wish for. Yes he's playing a stock part here but there's an underlying sensitivity in his playing, especially the timbre of his voice that makes you think better was to come.

A deserved adaptation of one of literatures great 'lost' novels this is not. Whilst the performance of Laird Cregar as George Bone was good, the rest of the film was an entire mess. There was no characterisation, the acting was appalling, the plot was rushed and the conclusion lacked any urgency or tension. From the very start of the film it is clear this film is a dumbed down exercise for cheap thrills, though the thrills are absent, The device of using 'Hangover Square' as an actual road name is ridiculous, it is supposed to be a metaphor! Yet the whole concept of social drinking and alcoholism are absent, rendering the title completely redundant.The cast consists mainly of Americans without any attempt of an English accent, despite the film being set in London. Whilst the Guy Fawkes scene provided the only highlight of the film (a truly disturbing scene which must have brought the house down at the time), this was a rushed, watered down travesty of a thriller. The device of using loud sounds to trigger off murderous urges stank of avoiding the core of the novel, George's schizophrenia. Though it would seem pointless to make comparisons between the novel and the film because there are so few. This is why the film fails. It takes several random aspects of the novel to turn it into a trashy crime thriller. The problem with this is that there is no tension in George's murderous rampages, nor do we like (or even know) the victims. The presence of George Sanders dilutes this tension even further with Sanders playing his usual relaxed, dismissive character-type. This was a huge disappointment to me but it seems obvious why this film has remained dormant since it's original theatrical release. There just is not enough time in 77 minutes to achieve an effective story of this nature. For the love of god, read the book instead! This remains one of the most tragic pieces of modern English literature, whilst expanding on the anguish and suffering of the characters that are barely hinted at in this cheap cash-in of a film.

Well worth watching, if you can find it. Cregar is excellent as the concert pianist tortured by obsession with a woman, and what it leads to. Moody, urgent (all the more so in black and white), with mounting suspense and tension. Lush Bernard Hermann score that expresses his anguish. Bonfire scene is gripping.

HANGOVER SQUARE was Laird Cregar's last film (he died at 28) and he turns in a fine performance. You can see how haggard he looks from his 100+ pound weight lose which happened before and during the filming of this movie. His appearance and exhaustion fit well with the role of George Bone though. The scene where he carries the body to the Guy Fawkes bonfire and places it with all the mannequins is very memorable as is the ending. The film score by Bernard Hermann is excellent and the concerto Bone "writes" is believable and tense. Cregar even plays the piano very well. It is too bad he died so young after only 5 years making movies as Hollywood lost a fine talent that was just starting out. John Brahms does a good job directing the atmospheric HANGOVER SQUARE too.

Laird Cregar (George) suffers blackouts whenever he hears discordant sounds. His brain is taken over by impulses that lead to actions for which he has no recollection. And they're not good actions! Basically, don't annoy him as he seems to dish out revenge in these moments. Outside of these episodes, he's a composer who has a champion in noted conductor Alan Napier (Sir Henry) and pupil Faye Marlowe (Barbara). But, enter floozy Linda Darnell (Netta) and her ruthless streak for fame and fortune and Cregar is in trouble. She lures him into her trap with false promises of love in return for his services in composing songs for her to perform and promote her own career. She can then drop him once she hits the big time. Wow, did she ever pick the wrong guy to wind up!

Musicians are sometimes a funny breed – wrapped up in a self-obsessed world of creativity. It's an admirable path. Sometimes the music doesn't work – as with Elton John, and sometimes it does as with Cregar in this film. The music is so powerful that it deserves a credit as one of the major cast. Other cast members are all excellent with special mention to Darnell as a total bitch. She will have you rooting for Cregar to have an episode with her and the film doesn't disappoint. However, it is Cregar who drives the film and does an excellent job eluding sympathy despite the horrors that lurk within him.

Two scenes that stand out are the Guy Fawkes bonfire sequence where Cregar places his dummy at the top of the bonfire and the end sequence as he is driven to perform his concerto to the end. Literally. We have the added curiosity of the terrible fate that fell upon all 3 of the leads in this film. Sanders committed suicide, and while many people give the nod to Cregar in his last performance before his death, surely the most eerie aspect of the film is what happens to Darnell.

I think this is one incredible movie. Aside from seeing it on late-night TV with dozens of commercial breaks, the only times I've seen this on the Big Screen was at the UCLA Film Archives and at the University of Southern California when the director's daughter was present.

It seems as if those in the know are in on a secret: this is a kewl movie!! John Brahm was a terrific director who was not afraid to use unusual shots (ever see the work he did for TV's Twilight Zone?), the performances are exceptional, and Bernard Herrmann's score is top-of-the-line.

Having said that, I must ask the big question: why must the lovers of this film have to wait over a decade between screenings? Come on, 20th Century-Fox, this movie is just begging to be made available to consumers!

Character actor Laird Cregar (in a rare starring role) headlines this exceptionally loose adaptation of Patrick Hamilton's novel about a mild-mannered composer with a latent homicidal streak. In gas-lit London (via Hollywood), Cregar falls for Linda Darnell, playing a greedy chanteuse who uses the pianist for his songwriting talents; little does she know, he also harbors a Mr. Hyde-like tendency to go off the beam whenever he hears loud, obtrusive noises. Cregar (who has the hulking frame of a Boris Karloff and the smudgy, pudgy face of a Lee J. Cobb) doesn't deliver a performance with multi-dimensions--but then, the picture itself is rather cut-and-dry. Without cinematographer Joseph LaShelle's swooping camera movements and Bernard Herrmann's scintillating score, the movie wouldn't be much more than another Jack the Ripper variation. A few stand-out moments (a bonfire sequence which recalls the German Expressionists, also the frenzied finale which must be seen to be believed) causes the film to linger in one's memory. Cregar died in real-life before the picture was released; he fills the bill without possessing any actual charisma or evidence of an uncanny grasp of verisimilitude. **1/2 from ****

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.

Slightly gothic in atmosphere what with the foggy damp London and some dramatic symphony music - Cregar gives a compelling turn as a very troubled composer who agonises over fugues and concertos while Darnell is ravishing as one of his vying muses. George Sanders and Faye Marlowe also put in good work. There is some innovative camera work - some truly creepy scenes - even chilling - with fascinating use of music and songs peppered throughout, and woven into the plot. A memorable and worthy watch you won't regret.

George (Laird Cregar) is a young composer who is working on a concerto. At the same time, he's had trouble with strange blackouts....and one lasted 24 hours! During this time, he had no idea what he did nor where he was and he's worried that he might have done something criminal during this latest blackout. This is because he found a knife in his pocket and a man had just been murdered. The police doctor (George Sanders) checks into it and insists that George wasn't responsible for the killing...or at least that there is no evidence he did it. However, the man sees that George is under extreme stress and he suggests George go out an have some fun and take a break from his work.

During this break, George goes into a cheap musical hall and soon is captivated by a lovely but black-hearted singer, Netta (Linda Darnell). She soon convinces him to write music for her and she pretends that she's in love with him. For some time, she strings him along with promises and lies until eventually he learns that she's been dating another man and is planning on marrying him! What's next? And, will there be further blackouts?

This is a very good but sad film to watch...sad because Cregar lost a lot of weight for this role...so much that it, combined with amphetamines (commonly used for weight loss in the 1940s), killed him at age 30. It's a real shame, as he's good in the film and it would have been his breakout role...moving from supporting villains to a leading man.

You can tell that this is a quality production for Twentieth Century-Fox. The music is lovely and extremely high quality, the street set is pretty amazing and the story is well directed and well written. I particularly like the Guy Fawkes Day bonfire scene as well as the fire at the end...so creepy. Well worth your time. My only complaint is that I think the film might have been even better had George's actions during the blackouts been more vague up until the end.

In old London town an upcoming composer struggles to reconcile his place in polite society with his suspicions over his behaviour during stress induced blackouts. Then two beautiful women get involved.

Enjoyable melodrama loosely based on DJ&MH. The three lead actors are all memorable: the composer with his hyperactive eyes, the smile of his female friend, and the sex-bomb that takes advantage. The pace is good and the music does its job well, with a very convincing turn at the keyboard which fooled me into thinking the actor was playing brilliantly.

Only real weakness - the good romance remained superficial. Best thing is the crowd scenes - all done on set, but full of life and rhythm, with great extras and lovely details, creating a rich atmosphere.

Overall, good entertainment.

ps. The composer and sex-bomb suffered untimely deaths in the real world.

I don't get it. The entire premise is ridiculous. It's possible a better movie could have made it believable but not this movie. That people love this movie at all just doesn't add up to me. It feels like all those fake amazon reviews that vote up all the cheap made in China electronics. Is it really possible people love this movie? Did I watch some different movie? Is there another version that doesn't suck?

In any case, I don't get it. George, the main character, has this condition where in when he hears a loud discordant sound he becomes someone else and then later when he wakes up he has no memory of the time he was his alternate self.

Okay, but during those times he's groggy like he's "hungover" (aha!). Which is fine for the first event, and maybe the 2nd event (even though that was unbelievable), but the 3rd event is long and well thought out. It doesn't fit at all.

Further, near the end, George, completely out of character from the entire movie, manages to lock someone in a closet without being in his alternate mode.

Then, the end was just melodramatic and silly.

I don't get it. 2 stars out of 10.