London, early 20th century. George Harvey Bone is a very promising musician, who is working on a concerto that is likely to fulfill that promise. Sir Henry Chapman, a distinguished conductor, wants to perform it at one of his soirées, with Bone at the piano. Chapman’s daughter, Barbara, is thrilled; she’s in love with George and believes in his talent. The black cloud over George’s life is his propensity to having “black little moods.” He visits Dr. Allan Middleton of Scotland Yard. Middleton is an expert on the mind. The doctor’s suggestion that George get out and mingle with ordinary people may be good in theory. But it leads George to meet Netta Longdon, a duplicitous music hall dancer. Netta leads George into a torment that sends him into ever blacker and blacker moods, where he does things he can’t remember. And wouldn’t want to. —J. Spurlin
John Brahm (August 17, 1893 – October 13, 1982) was a film and television director possibly best known today for directing a dozen of the original Twilight Zone episodes including the now classic “Time Enough at Last”. His films include The Undying Monster (1942), The Lodger (1944), Hangover Square (1945), the film noir The Locket (1946) with Laraine Day, Robert Mitchum, and Brian Aherne, and the Secret Sharer segment of Face to Face. He also directed the 3D horror film The Mad Magician 1954 with Vincent Price and Mary Murphy.
Brahm was born in Hamburg, Germany. He was the son of German actor Ludwig Brahm and the nephew of European theatrical impresario Otto Brahm.
John started his theatre career as a character actor. After World War I, shuttling between Vienna, Berlin and Paris, he became theatre director and was resident director for acting troupes at Deutsches Theater and the Lessing Theater, both in Berlin.
With the rise of Hitler, he first moved to England… read more
Violent amnesiac composer George Harvey Bone collapses Otherness and post-war dissonance in the development of his ultimate fugue, reaching the heights of expression and the depths of Hell simultaneously.
According to me, HANGOVER SQUARE is a masterpiece. Directed by John Brahm, who's grossly underrated nowadays, this picture belongs to the Horreur/Noir genre, a minor genre of the period. Brahm's improbable and lyrical travellings transcend Bernard Herrmann's sublime musical score, leading to a final that will stay for long in your memory. As John Brahm is an auteur, take also a minute to think about one of HANGOVER SQUARE's secondary themes: the artist's status in the society. George Harvey Bone is a composer who losts his soul by accepting to write popular songs for a cabaret singer. Wasn't it and isn't it still the common destiny of the majority of young directors coming to Hollywood ? Indispensable.
Entertaining old-fashioned psycho-thriller from director John Brahm. Some effective atmosphere with great moody black and white cinematography, but the plot is uneven - though it does have some very strong moments, including the exciting and visually stunning climax. Laird Cregar's much-lauded performance is strong, but not quite his best. Excellent score by Bernard Herrmann, the concerto he composed for the film is
The Bernard Herrmann centennial is the occasion for a two-week, 22-film retrospective.