Nelle tenebre della metropoli

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.

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.

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.

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.

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.