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 soirées. George has another black out, ... Written by
Stephan Eichenberg <firstname.lastname@example.org>
In the book "A Heart at Fire's Center: The Life and Music of Bernard Herrmann", John Brahm said like this about the concerto scene: "For a long time, I had been dissatisfied with the photography of music in films. Musicians themselves are uninteresting; it is what they play that should be photographed. I myself could not read a note of music, but when Herrmann came and saw the finished film he could not believe it. I had photographed his music." See more »
The title of the original novel, 'Hangover Square' is a play on words based 'Hanover Square'. It is not meant to be Bone's actual address as it is in the film version, where we clearly see a street sign marked 'Hangover Square'. 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 »
Why, oh why, isn't this available on home video???
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!
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