George Harvey Bone is a composer in early 20th century London, who is under stress because he is writing a piano concerto. Due to this stress, he gets black outs when ever he hears dissonances. When he finds himself after the black out in a different quarter of the town, he returns home, to read in the paper that somebody in that quarter was murdered. Asking help from a doctor at Scotland Yard he is assured that he has nothing to do with it, but he is advised to cut back in his work and get some relaxation like other, ordinary people. At a cheap musical he meets Netta, a singer, who inspires him for a new motive for his concerto. But Netta discovers that this motive could also be used as a song for her. The song gets sold, and she hangs around George to get more songs out of him. George believes that Netta is in love with him, and gets in an argument with his girlfriend Barbara, the daughter of Lord Henry, who wants the concerto for one of his souares. George has another black out, ... Written by
Stephan Eichenberg <firstname.lastname@example.org>
The date of the action is 1899 but a theatre programme is dated 1903. See more »
Look! It's old Ogilby's place!
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Opening credits: This is the story of George Harvey Bone who resided at number 12 Hangover Square, London SW in the early part of the twentieth century. The British Catalogue of Music lists him as a distinguished composer... See more »
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.
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