I like the storyline of this show,it attract me so much

Too much of everything

Pretty Good

Absolutely the worst movie.

Screenplay: Barré Lyndon. Allegedy based on the 1942 novel by Patrick Hamilton. Copyright 6 February 1945 by 20th Century-Fox Film Corporation. New York opening at the Roxy: 8 February 1945. U.S. release: February 1945. U.K. release: 9 April 1945. Australian release: 12 July 1945. 6,966 feet. 77 minutes. SYNOPSIS: London, 1903. A well-known composer is unaware that he has a split personality.COMMENT: This brilliant screenplay is virtually the unaided work of Barré Lyndon. Only the title, the names of the two principal characters (Bone and Netta) and the idea of Bone's split personality derive directly from the novel. Masterstrokes like turning Bone into a composer, setting the period back from 1939 to the turn of the century, inventing the trigger mechanism of the discordant noise (in Patrick Hamilton's novel, Bone just clicks in and out of schizophrenia without rhyme or reason), plus the film's highly-charged set-pieces (none of which, including the fiery climax, are even so much as hinted at in the book) can be credited solely to Lyndon.All the screenplay's marvelous effects are superbly realized by director John Brahm, who re-enforces their impact with extraordinarily fluid camera movements and highly imaginative compositions.The movie is also most impressively served by its star, Laird Cregar, whose crash diet led to his untimely death at the age of twenty-eight, shortly after this picture was completed. Bone's words, "Music is the most important thing in the world to me!" and Middleton's reply, "You're wrong, Mr Bone! The most important thing is your life!" could have been applied to Cregar himself by simply substituting "acting" for "music". Certainly the weight loss evident in the film has made a remarkably difference to his appearance. His features, flatteringly photographed here by Joseph LaShelle, are actually quite handsome. Allied with his natural acting ability and his magnetic personality, his charisma would certainly have built him into a star of the first magnitude had he survived. I like the soft-spoken voice he adopts here too. There's no doubt the operation of transforming Cregar from character player to major star was outstandingly successful. Only one minor drawback: the patient died. Bernard Herrmann's music score must rank as one of the finest ever composed for a motion picture. Other production credits are equally superlative, yet, oddly, the movie was not nominated by any body for any awards at all. Nor, incredibly, were contemporary critics particularly enthusiastic.

"Hangover Square" has always been my favorite film noir because of that incredible noir brainstorming : John Brahm directing (he found his best level in this genre), Bernard Hermann's haunting music, Joseph LaShelle vertiginous camera, Barré Lyndon's script from the Patrick Hamilton's novel. And in addition to these fantastic creators, the casting : Linda Darnell, George Sanders and the hallucinating Laird Cregar, who died too quickly. He was really hypnotizing playing this dangerous sleepwalking character, I always find this story completely scary each time I see the movie. "Hangover Square" is a very superior criminal movie with a desperate love story. Masterpiece.

Laird Cregar (George) suffers blackouts whenever he hears discordant sounds. His brain is taken over by impulses that lead to actions for which he has no recollection. And they're not good actions! Basically, don't annoy him as he seems to dish out revenge in these moments. Outside of these episodes, he's a composer who has a champion in noted conductor Alan Napier (Sir Henry) and pupil Faye Marlowe (Barbara). But, enter floozy Linda Darnell (Netta) and her ruthless streak for fame and fortune and Cregar is in trouble. She lures him into her trap with false promises of love in return for his services in composing songs for her to perform and promote her own career. She can then drop him once she hits the big time. Wow, did she ever pick the wrong guy to wind up! Musicians are sometimes a funny breed – wrapped up in a self-obsessed world of creativity. It's an admirable path. Sometimes the music doesn't work – as with Elton John, and sometimes it does as with Cregar in this film. The music is so powerful that it deserves a credit as one of the major cast. Other cast members are all excellent with special mention to Darnell as a total bitch. She will have you rooting for Cregar to have an episode with her and the film doesn't disappoint. However, it is Cregar who drives the film and does an excellent job eluding sympathy despite the horrors that lurk within him.Two scenes that stand out are the Guy Fawkes bonfire sequence where Cregar places his dummy at the top of the bonfire and the end sequence as he is driven to perform his concerto to the end. Literally. We have the added curiosity of the terrible fate that fell upon all 3 of the leads in this film. Sanders committed suicide, and while many people give the nod to Cregar in his last performance before his death, surely the most eerie aspect of the film is what happens to Darnell.

This is basically a remake of 1944 Lodger, starring Laird Cregar as another serial killer terrorizing Victorian London of 1940's Hollywood, shot again as black and white, written again by Barre Lyndon, directed again by John Brahm and and featuring Linda Darnell (replacing Merle Oberon) as another glamorous vaudeville performer courted by the killer. And yes, George Sanders gives support again, this time as a psychiatrist. However, Linda's unscrupulous Netta, so beautiful in lovely rose-decorated dress, is a villainess instead of heroine in peril, and Cregar's insane killer is not sex-hating mutilator of female bodies. Actually, this intriguing, if fictitious psychosis of doomed and sympathetic protagonist gives literally sanitized version of serial killing, which in real life is usually motivated by truly filthy perversions and not mental illness and never falls into the innocent-by-the-reason-of-insanity-category like in Hangover Square. All this lack of realism definitely helps the movie - made with all the class and taste of Golden Age Hollywood, where the dialogue and imagery are clean, the acting is melodramatic and women glamorous, Hangover Square provides fascinating story and milieu, and some fantastic shots like Netta's murder (!) which is reflected in the mirror lit by opulent gas-lamp, .