Hangover Square/1945/20th Century-Fox/77 min.
Last Thursday at the Aero Theatre in Santa Monica, I saw “Hangover Square” from 1945 and what a deliciously warped little gem it is! (It was on a double bill with “Psycho” as part of the series honoring composer Bernard Herrmann.) “Hangover Square” stars the spellbindingly sexy and exquisitely stunning Linda Darnell as Netta Longdon, an ambitious music-hall singer in need of good songs.
Enter Laird Cregar playing composer George Harvey Bone, a sweet, lumbering Teddy Bear of a guy. Both are residents of a fictitious square in London, a curious Hollywood-esque dwelling where almost every voice you hear has an American accent.
Femme fatale Netta easily wraps George Bone around her little finger, distracting him from writing more serious music and using him as a babysitter for her long-haired, evil-eyed cat. Of course she has a menacing, demanding cat – who else is going to make sure George gets the songs done by jumping into his lap and glaring at him? Not Netta, she’s out on the town every night.
There’s just one small snag. George has a strange condition, stemming from overwork, that causes him to black out and possibly become violent. Possibly not, but he doesn’t remember. We learn early on in the film that George is on Scotland Yard’s radar, having been examined by Dr. Allan Middleton (the delightfully smarmy George Sanders), but he’s not deemed to be a threat to anyone. Besides, George is adored by the upper crust Sir Henry Chapman (Alan Napier) and his pretty daughter Barbara (Faye Marlowe).
But that was before Netta and her cat entered the picture and insisted George work his chubby fingers to the, well, bone. Strain + strange condition does not bode well for this ill-fated pair. George takes advantage of a Guy Fawkes bonfire to cover up the crime he commits before blithely succumbing to the ravaging flames of another fire.
Skillfully directed by John Brahm (he also directed Cregar in “The Lodger,” 1944) and gorgeously shot by Joseph LaShelle, “Hangover Square” is full-on film noir, even though the story is set around 1900. The shadow-drenched urban nightscapes, themes of alienation and sexual obsession, and Herrmann’s edgy score draw us into the dark, ambiguous, dangerously skewed noir world.
Barré Lyndon wrote the screenplay, based on a 1941 novel by English writer Patrick Hamilton, who also wrote the plays “Gaslight” and “Rope,” which became Hollywood classics. “Gaslight” was directed by George Cukor (1944) and “Rope” by Alfred Hitchcock (1948). In the novel, George Bone was a borderline alcoholic and the story was set in 1939.
But perhaps most chilling is the off-screen story of the stars. More