Three cheers are due for the unsung back lot maestro, John Brahm. His work is fairly ubiquitous; in his day he directed several major studio films and later countless episodes of several different TV shows, but his name isn’t found on most lists of great Golden Age directors. This is a shame because within a couple of years (roughly 1942–1947) he directed some superb thrillers for Twentieth Century Fox that gave producer Val Lewton, and directors Orson Welles, Fritz Lang, and Alfred Hitchcock a run for their murder movie money. Brahm, like the Warner Brothers’ in-house dynamo, Michael Curtiz, was a filmmaker so adept at the art of directorial craftsmanship that you remember his great films more than you remember his authorial imprint on them. Though his last name never became critical shorthand for a specific style (unlike the terms “Wellesian” or “Hitchcockian”) he was a director who, with the right project, was second to none.
Hangover Square is a thriller set in London during the gaslight era and things get off to an appropriately grisly start as it opens with a brutal murder and a corpse in flames. Laird Creggar plays George Harvey Bone, a troubled pianist who works too much and is just on the cusp of greatness with the latest piece he is writing. He suffers from blackouts and he worries that he may have been the one who committed the aforementioned murder. George Sanders plays a Scotland Yard detective who doesn’t think George is capable of homicide but later learns otherwise. George leaves his fiancé, Fay (Barbara Chapman) for the low-rent charms of a burlesque performer, Netta Longdon (Linda Darnell) who is conspiring against him with another of her lovers to fleece the composer of his songs for her own use. This arrangement is not, shall we say, sustainable, and pretty soon there are more blackouts and more murders.Continue Reading
Sleeker and more satisfying than any fictional era-reproduction in cinema, Primitive London, the follow up to London in the Raw, gives viewers the pleasure of revisiting London's diverse '60s pop culture. Touching on the divide of its affluent and poverty-stricken society following the depression, the film begins by zooming in on London's adolescents.
Starting with mod culture, the film describes those involved in it as having an identity with no class boundaries. Regardless of where you came from, the flashy and colorful clothing of this scene could transform you into a character worthy of fickle respect. There's also an explanation for the effeminate male clothing, which apparently derived from the abundance of womens textiles when many would-be male patrons were killed in two world wars. Outfits that would have been seen as amoral for a man became acceptable.Continue Reading