Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret which he will do anything to protect, even if that means driving his wife insane.
The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.
Joseph L. Mankiewicz
Paula's aunt Alice Alquist, a famous entertainer, is murdered in her home. Paula, who lives with her aunt finds the body. Police fail to find the killer and Paula is sent away to school. Ten years later, Paula returns to London with her new husband. They take up residence in her aunt's house, which she has inherited. Paula is increasingly isolated by her husband but does come to the attention of an admirerer of her aunt, Mr. Brian Cameron. Written by
Sandra Douglass <firstname.lastname@example.org
When this film was produced, MGM attempted to have all prints of the previous version, Gaslight (1940), destroyed. These efforts were ultimately unsuccessful, though the film was rarely seen for the next few decades. See more »
When Gregory tells Paula his watch is gone, their shoulder-to-shoulder position changes several times. See more »
I knew from the first moment I saw you that you were dangerous to me.
I knew from the first moment I saw you that you were dangerous to her.
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Ingrid Bergman plays Paula, an orphaned Victorian-era Londoner whose opera-singer aunt is murdered at the beginning of the movie. She moves to Italy to follow in her aunt's footsteps as a diva, but falls in love and returns to London with her new husband (Boyer) to live in her aunt's empty house. There, she becomes the victim of a carefully-orchestrated campaign to drive her insane.
GASLIGHT is richly atmospheric, mostly well-acted, and beautifully photographed. There are chills aplenty as seemingly innocent people grow progressively creepier, and the movie is well-paced with each successive scene increasing Paula's terror. The climax is tense and has a certain poetic justice to it.
The chief flaw in the movie is that we are clearly shown from the beginning that Paula is the victim of a third party and is not insane. Thus we cannot share the doubts and terror that she feels. We are not, like her, wondering if we can trust our senses, but merely wondering who is doing this to her. And the latter question isn't very challenging to answer. With a little more subtlety, Cukor could have left us as much in the dark as Paula about why she is experiencing so many strange phenomena, and made this effective little film into a true masterwork of suspense. As it is, GASLIGHT is good, but fails to achieve its potential to match such classics as REBECCA or VERTIGO.
Bergman and Boyer make a very dynamic on-screen duo. The film does suffer from Joseph Cotten, whose apple-pie American accent makes for a very unconvincing Scotland Yard inspector. Angela Lansbury is delightfully saucy in her film debut as a Cockney maidservant. Dame May Whitty provides effective comic relief.
GASLIGHT is well worth a rental at any price, so long as your expectations aren't overly high.
Rating: *** (out of ****).
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