Gaslight

The first scene establishes the dreary tone of the film. It is nighttime in London and a murder goes unsolved. The magnificent Ingrid Bergman portrays Paula, the niece of the deceased woman. After living ten years trying to forget the past, Paula returns to her house in London at the suggestion of her new husband, Gregory (Charles Boyer). "I've found peace in loving you," Paula says and decides with the help of her husband, she is ready to face the past. Fear is an essential element in the story. It seems the police cannot find a motive for the murder but when a new young assistant comes to Scotland Yard, he sees something that others did not notice or would not pursue. The murderer remains at large and his next potential victim has returned to the very house where the first murder was committed.

The cast's flawless talent makes the film absolutely unforgettable. Charles Boyer is exceedingly ominous as Paula's obsessive husband. As the high-strung wife, Ingrid Bergman gives an outstanding performance. She is startling and brilliant. Brian Cameron, played by Joseph Cotton, makes his appearance later in the film but is wonderful nonetheless. Watch for the emphasis on foreshadowing and the beautiful lighting achieved in Gaslight, as well as the particular attention to the many details that make it spectacular. George Cukor's fantastic direction of this intriguing and suspicious tale will keep you on the edge of your seat.

Not being a big fan of older movies myself (for some reason I really don't know) I decided to go out on a recommendation and rent "Gaslight." And I must be honest, I was impressed.

When Paula was younger, her aunt with whom lived with in Thornton Square in London was murdered by a strangler roaming the streets. Paula goes to stay in Italy, and some time later, meets Gregory. She and Gregory plan to marry, and after they do, they move to London, back to the exact house Paula lived in.

Not too long after, Paula starts to become "forgettful," as Gregory tells her. In fact, he tells her a lot of things...and she believes him. Then things she knows she had put somewhere or remembered doing seem nonexistent, and Paula is left to wonder if her sanity is in check. Then, many times, she starts hearing footsteps, and the gaslights are going down a lot. Is Paula going crazy, or is she being haunted by her dead aunt's spirit...or is it something far more sinister?

I liked this movie a lot. Ingrid Bergman and Charles Boyet were amazing. Bergman portrays her character's emotions to the point that you feel the same way she does. And Boyet is pure evil in this one. Many times watching this, I was thinking, "He is so terrible to her!" It was so psychological, how everything eveloped. The best scene in the whole movie took place at the reception, when Gregory tells Paula he lost his watch, and then finds it in her purse. Then she bursts into tears, and it was so absolutely amazing how the scene was pulled off. In fact, it was so subtle it was scary. You wouldn't expect a missing watch found in her purse to be such a big deal, but it is such a strong scene.

The one thing I didn't like about this otherwise nearly flawless movie was the climax. It was just too dull to me, and the only part I really liked was Paula's wicked sarcasm towards Gregory while they're in the attic. She truly did deserve the Best Actress Oscar for her acting, but nothing could mask the fact that the climax was just too weak. If it had a bit of a touchup, this movie would be perfect.

All in all, I recommend this without hesitation. It is absolutely amazing, and I could watch it again and still enjoy it, and that is quite rare for me. So, I recommend you find this wherever you can and give it a chance. It's a classic.

This American-made version of the English thriller "Gaslight" is well-crafted and well-acted, with many moments of good suspense and tension.

Ingrid Bergman and Charles Boyer work very well in the two leads, and they get considerable help from the rest of the cast and the production.

The character of the fragile, self-doubting Paula is an ideal role for Bergman, who conveys Paula's anxious uncertainty while keeping her sympathetic and even engaging. Boyer likewise comes across very believably as her calculating husband, and the two leads make their characters into a strong foundation for the tense story.

Joseph Cotten does not really seem as if he could be a Scotland Yard detective, but in a more general way, he succeeds pretty well as a sympathetic policeman who wants to help personally while striving to get at the facts of the matter. A very young Angela Lansbury gives her character some pointed moments, and she becomes a useful part of creating the right atmosphere.

The story does, of course, have some less plausible elements, but it is written carefully enough that the seams rarely show. In fact, it seems to have been constructed rather carefully, so as to provide subtle hints that can be made use of later on. It all makes for a satisfying drama that also provides a pretty good showcase for its stars.

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 ****).

If you're looking for everything you've ever wanted to know about horror, mystery, depression, and suspense, go take a peek into Ingrid Bergman's eyes.

The actress -- who would soon become blacklisted after her marriage to Italian director Roberto Rossellini -- can convey every emotion and nuance of her character through her amazingly expressive eyes. Completely believable in George Cukor's Gaslight as a wife whose husband (Charles Boyer) is trying to make insane, Bergman can show you all her turmoil and emotional stress just by looking around.

The plot is simple, perhaps even arcane. A famous opera singer is murdered in London, leaving behind no motive, no clues, and Paula, the young niece who discovered the body. Paula is sent to Italy, where she, too, studies music, until she elopes with an older, dashing pianist (Boyer). He convinces her to move back to the exact same house where her aunt was murdered, where nothing has been changed in all those years. And, naturally, here is where the movie really begins.

Soon, her husband starts acting very strangely, and starts convincing her that she is very ill and unable to go out. Trapped in the house, alone with her husband, a somewhat-deaf cook, and a tart of a housekeeper, Paula soon starts to hear noises, see things, lose things, and even hide things. Or is she? Is she going mad? Or is her husband -- who she is supposed to love, honor, and obey -- making her mad?

The show is Bergman's to steal, and she does so with gusto, garnering an Oscar for her endeavor. With her performance, Bergman transforms the character of Paula Alquist from a weak, paranoid wimp of a wife into a woman struggling with her own identity and her role in marriage and society. Perhaps unintentionally, perhaps unwittingly, Bergman's Paula is a symbol and a superhero for all women trapped in an abusive marriage. Even today.

Granted, the story line is somewhat contrived, and one can't help but wonder how Paula never notices that her husband is completely evil BEFORE the marriage. Also, Joseph Cotten, as the Scotland Yard detective smitten with Paula's beauty, seems to come out of nowhere. Still, the acting prevails over the plot, and what better actor to come out of nowhere than Cotten? His charm and charisma make up for his character's two-dimensionality.

Although there are faults, Gaslight is an extraordinary film, generating its suspense not from an evil lurking in the shadows, but from the psychology of the mind itself. Perhaps one of the first "pure" psychological thrillers, Gaslight, just like Ingrid Bergman's eyes, contains the perfect blend of mystery, suspense, and beauty.