When we think of Bernard Herrmann, we almost instinctively associate his legacy with Vertigo. However, I want to pose a controversial but essential argument: nothing displays Herrmann’s mastery of musical composition better than the 1945 film Hangover Square. Directed by John Brahm with a screenplay by Barré Lyndon, this film is an absolute must-watch for composers and film enthusiasts alike. In it, Herrmann achieves a nearly impossible and marvelous result: composing a flawless film score and an authentic piece of concert music at the exact same time.
The film follows a tragic protagonist, composer George Harvey Bone (played brilliantly by Laird Cregar), who finds himself under immense pressure to write a piano concerto that must serve as his masterpiece. What could possibly fit Bernard Herrmann’s own musical profile better than a story centered entirely around the creation of a monumental score?
However, George suffers from a severe psychological condition. Whenever he hears a high-pitched, discordant swishing sound, his mind snaps into a violent fugue state. He becomes an entirely different person — amnesic and dangerous — even killing a man during one of these episodes without any memory of his actions when he wakes. This psychological thriller presents a classic noir conflict between George’s refined artistic persona and his dark, uncontrollable shadow. It is built around the narrative device of anagnorisis— the tragic, critical moment of startling discovery.
It is hard to imagine a plot more perfectly tailored to the unique qualities Herrmann brings to cinema. The narrative demands a composer who can use high-pitched dissonance to physically trigger a protagonist’s psychosis, and whose style can effortlessly range from jazz-like parlor songs to harsh, obscure, and dissonant concert music.
The true weight of Herrmann’s task was the immense responsibility of scoring a film where a masterpiece concerto is not just the central subject, but the literal climax of the story. And he truly delivers. The success of this music transcends the screen, becoming what we now know as his Concerto Macabre. Remarkably, the origin of this famed concerto is simply the natural act of scoring the movie’s final scene.
This climactic sequence is not merely a performance of the concerto George lived for; it is a sequence packed with dramatic shifts that the music itself — the very music the protagonist composed — must go along with. The on-screen tension is palpable as the crusade of investigators advances, finally closing in to arrest him. Everything moves in perfect harmony with the score, but even more astounding is how the musical form rigidly fits and dictates the narrative.
During the performance, while actively playing the piano, George experiences a sudden flashback and finally realizes he killed a man. He abandons the piano mid-performance, and in a brilliant cinematic and musical handoff, his friend Barbara Chapman (played by Faye Marlowe) seamlessly takes over right from where he left off.
The tragic irony of George’s dedication is woven throughout the entire narrative. We see his desperation to share his art in the quiet, agonizing moments leading up to the climax — such as when he excitedly rushes to a friend’s door late at night to present his newly finished work, only to be met with a headache and a dismissive “I’ll see you in the morning”.
Ultimately, Herrmann did not merely score a movie, nor did he simply compose a film score that could later be adapted for the concert hall. In Hangover Square, while actively scoring the dramatic on-screen performance, he composed remarkable, authentic concert music that stands entirely on its own as a flawless film score.
If you are interested in an even deeper breakdown of the fascinating harmony of Bernard Herrmann and the technical details of what makes his music so great, I invite you to join my course waiting list.