Gaslight

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 ****).

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.

They don't make them like they used to is a lazy thing to say, but they really don't. There's a wonderful tangible and hypnotic innocence to early cinema that we've lost... or progressed from depending how you look at it, but it's great to be able to relive films like this. Paula (Ingrid Bergman) hasn't had a happy start in life, her aunt murdered in her foggy london home. Escaping to Italy she meets and falls for Gregory (Charles Boyer). It's an affluent life, palatial hotels on Lake Como. Were lives of the poor depicted often in 40s cinema? I don't think so, I guess it was a medium purely of escape. Anyway, Gregory fancies settling in London and Paula still owns her aunts house at 9 Thornton Square an address that haunts her, but she puts that aside for Gregory's wishes. I must admit I'm captivated by old London. Cobble streets, horse drawn carriages and of course gaslights. The house is stunning and thanks to the eerie score, quite spooky. Unchanged since that fateful night of the unsolved murder... and full of clues. I don't trust dear Gregory and I'm not sure about Nancy (Angela Lansbury) the new maid either. The sneaky sod is playing mind games, undermining poor Paula, trying to convince her she's losing it. He's a gold digger. Not like Brian (Joseph Cotten) and Miss Thwaites (May Whitty), both who bring much needed warmth. Brian works at Scotland Yard and smells a rat... and a jewel thief, every murder needs a motive. The elderly Miss Thwaites, well she loves a good story and is fascinated by the things that happened at number 9. And might well she be, there's a lot going on in it's walls. Largely down to poor Paula rarely leaving them, slowly being pushed into the role of reclusive madness, by an increasingly manipulative Gregory. It's partly frustrating knowing that Paula is being bullied and unsettling to modern eyes. Yet it's captivating as we expect repercussion, relief, truth and justice. The gaslit house with its shadows and aunties old memorabilia locked up in its top floor, brings an odd supernatural sense to proceedings, but we know what's really going on and Brian is onto something too. Bergman is fantastic in her increasing frailty. Boyer in his domineering menace. Lansbury in with her east end flirting and Cotten as the hero detective. It's a lovely slow burner with fantastic finale.

Patrick Hamilton's "Angel Street", an American stage classic, was turned into "Gaslight" in 1944. This atmospheric account about a woman being driven out of her mind, was directed by George Cukor. The film has always been a favorite of classic movie fans all over the world because it holds the viewer interested in watching the psychological drama with echoes of Gothic overtones, unfold on the screen.

This was not the first adaptation of Mr. Hamilton's play, although in our humble opinion, it is much better than the previous account, in part helped by the great cast that Mr. Cukor assembled to portray these characters. Thanks to the magnificent black and white cinematography by Joseph Ruttengerg and the musical score by Bronislau Kaper, the film ultimately rewards the viewer.

We are taken to No. 9 Thornton Square, at the start of the film. A murder of a famous opera singer has been committed. We watch as a young woman is taken away. Paula, is being sent away to Italy to recuperate from the tragedy she has just witnessed. The idea was for her to follow her aunt, the murdered diva's footsteps, but just listening to the young woman sing, one realizes opera is not going to gain a new star.

The young pianist, Greorgy Anton, who is seen at Maestro Gardi's home, seems to be in love with Paula; she, in turn, has fallen in love with this much older figure. They prepare to return to London and live in the house at Thornton Square. Paula, alas, is not too happy because of her traumatic experience there. Little by little we watch as Gregory, now in charge of the household, begins to terrorize his wife. The key seems to be hidden in the attic where all the things that belonged to the late diva has been stored.

A young man living near the Antons, Brian Cameron, takes an interest in what he sees is definitively wrong with the woman at No. 9, and takes things into his own hands. It's through this man's intervention that Paula is able to see all that has been inflicted upon her. Whatever Gregory has done, succeeded in giving Paula a deep sense of insecurity and fear.

Ingrid Bergman, who makes a magnificent Paula, was born to play this troubled woman. She is seen as a young girl at the beginning of the film, then as a blossoming beautiful woman and at the end she is transformed into a person afraid of her own shadow. One look into Ms. Bergman's eyes and we know what's going on in her mind. She conveys all the emotions convincingly. There's not a thing wrong with her performance.

Charles Boyer also makes a great Gregory Anton, a man who is duplicitous and sly, with a hidden agenda to get whatever he can out of poor Paula. Gregory is an evil man who will go to great lengths to get what he wants. Gregory Anton offered the actor one of his best characters. His chemistry with Ms. Bergman is wonderful.

The other supporting characters are well performed, especially by a young and interesting Angela Lansbury, who plays the parlor maid, Nancy. Joseph Cotten, on the other hand, seems to be out of character as Brian Cameron. His American accent ruins his appearance and we don't believe in him. Dame May Witty is about the sunniest one in this film.

"Gaslight" is an excellent way to spend the time in the company of Ingrid Bergman and Charles Boyer, thanks to the detailed production directed by George Cukor.

A murder leads to leaving and new life, ten years later and you find yourself a wife, a man who lifts you off your feet, then takes you straight back to that street, and the house that's full of pain, riven with strife. You're imprisoned in the place in which you live, turns out that Gregory is controlling, coercive, as you start to lose your mind, there are things you lose, can't find, and your relationship's aggressive, combative. Brian Cameron takes an interest in your plight, as an officer of the law takes up your fight, investigates what's going on, if there's misdeed, any wrong, always under careful watch, of the gaslight.

Great performances all round.