★ 7 / 10
I always feel that this version has been
CinemaSerf
I always feel that this version has been overshadowed by it's much higher profile 1944 iteration, but is actually every bit as good. A newly married couple…
I always feel that this version has been overshadowed by it's much higher profile 1944 iteration, but is actually every bit as good. A newly married couple move into their home on a Victorian Square and soon afterwards "Bella" (Diana Wynyard) starts to become absent minded, starts to misplace things, forget things. Her initially supportive husband "Paul" (Anton Walbrook) starts to lose patience with her and when she starts to imagine footsteps and flickering gas lamps he threatens to have her certified... Except, what's really going on? Is she what she seems - and, is he? The timely arrival of "Rough" (Frank Pettingell) starts to cause us all to question as he discovers that the husband may have a hidden, much more sinister, past! Thorold Dickinson does well with the pace of this tautly directly adaptation of Patrick Hamilton's play; the performances - especially a menacing Walbrook - are tight and convincing and Richard Addinsell has created a score that perfectly matches the pace as the mystery heads to it's denouement.
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★ 8 / 10
Well-filmed earlier adaptation of famed 1944 film
dfranzen70
Gaslight (1940) In 1944, MGM released a movie about a thief who slowly tries to drive his wife insane in order to find out the location of some jewels. The…
Gaslight (1940) In 1944, MGM released a movie about a thief who slowly tries to drive his wife insane in order to find out the location of some jewels. The movie was called Gaslight, and it starred Charles Boyer and Ingrid Bergman. But the movie wasn't an MGM original by any means; its antecedent was a much-lesser-known 1940 British film by the same name. (Apparently, when MGM bought the rights to the story, based on a play by Patrick Hamilton, the studio attempted to destroy all existing prints of the earlier version, but they weren't successful.) In the opening scene, an old woman is strangled to death, and her killer ransacks her apartment in search of... well, something. His search is apparently fruitless. Years later, Paul Mallen (Anton Walbrook), a debonair society lord in London, moves with his wife Bella (Diana Wynyard) to the posh Pimlico Square, directly below the apartment of the murdered. Mrs. Mallen is quickly the talk of the neighborhood - she's a little off, they say. Something's not quite right with her. And those wags are right; Bella is constantly accused by her husband of stealing things from him, although she has no recollection of the events.
Mallen uses trick after psychological trick against his wife, although it's unclear to the audience what his motives are. Is he just playing with her? Does he merely delight in her anguish? He even deliberately keeps her from her cousin, a man who'd stood against their marriage at the wedding ceremony. What's Mallen's angle? Unlike its remake, this earlier version is delightfully understated - and bereft of stars whose names would be recognizable in the United States. It's remarkably well lit, too, typical for movies of the period. But where it draws most of its strength is from the two leads. Walbrook, who by that time had been in motion pictures for 25 years, is perfect as the sly, debonair, and viciously evil Mallen; Wynyard exudes vulnerability and panic; her Bella is terrified that she might be quite sincerely insane, vacillating from dignified serenity to sheer panic.
This movie is highly recommended to fans of noir film, particularly those who've seen the more-famous 1944 Hollywood version.
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