★ 8 / 10
When her Thespian aunt is found murdered in
CinemaSerf
When her Thespian aunt is found murdered in her exclusive London home, "Paula" (Ingrid Bergman) is relocated to Italy where she is to focus on her musical…
When her Thespian aunt is found murdered in her exclusive London home, "Paula" (Ingrid Bergman) is relocated to Italy where she is to focus on her musical studies. That's where she meets the charming pianist "Gregory" (Charles Boyer) with whom she falls in love. After they marry, they decide to return to the UK and live in her aunt's former home. Their initial marital bliss doesn't last, though, as "Gregory" starts to wonder about his wife's mental health. She becomes forgetful, she loses things, she becomes obsessed with the flickering gas lamps on the wall. He decides that she ought to be shielded from the outside world - and that includes kindly neighbour "Miss Thwaites" (Dame May Whitty). This isolation also manages to raise the suspicions of "Cameron" (Joseph Cotton) who is aware of the potential motives attributed to the death of the aunt, and who is unconvinced with the version of events being peddled around the square by "Gregory" and by their maid "Nancy" (Angela Lansbury) who is keen on her master, on a local police officer and has quite possibly some designs on a better life for herself. The question is, though: is "Paula" genuinely ill or is she the pawn in a nefarious game being perpetrated by someone close to her? This is certainly my favourite effort from Bergman as she imbues her character with an almost unnerving degree of vulnerability and even instability and that's countered expertly by a Boyer who offers us one of the most subtly calculating performances you're ever likely to see in a cinema. These two made a few films together, but rarely has their chemistry reached this level nor has it benefitted from having three really quite strong and diverse character actors to help both break up and stoke up the tension as the story unfolds. The dark, flickering, photography and Bronislau Kaper's evocative scoring all add to the accruing sense of menace provided by George Kukor, Boyer and the stunning Ingrid Bergman and this is a classic thriller that still makes me squirm in my chair.
★ 9 / 10
I knew from the first moment I saw
John Chard
I knew from the first moment I saw you that you were dangerous to her. Gaslight is directed by George Cukor and is adapted to screenplay from Patrick…
I knew from the first moment I saw you that you were dangerous to her.
Gaslight is directed by George Cukor and is adapted to screenplay from Patrick Hamilton’s play by John Van Druten, Walter Reisch and John L. Balderston. It stars Ingrid Bergman, Charles Boyer, Joseph Cotton, May Whitty, Barbara Everest and Angela Lansbury. Music is by Bronislaw Kaper and cinematography by Joseph Ruttenberg.
Years after her aunt was murdered in her London home, Paula Alquist Anton (Bergman) moves back there with her new husband, Gregory Anton (Boyer). However, what at first seems to be an idyllic marriage begins to crumble as Paula appears to be losing her mind…
You really have to put into context just how great Gaslight is as per the time it was released. For it holds up now as something of a torch igniter for what has followed over the decades. The psychological thriller – specifically that of a spouse being tormented by their partner – has been mined for all its worth - and will continue to do so. Even the terminology of very real life instances such as Gaslighted/Gaslighting have been born out from the pic, so if it is thought of being dated or old hat, its influence is still quite considerable.
It’s still a terrific atmospheric thriller anyway, played out to a magnificent backdrop of Victorian London, of fogs and cobbled streets, and of course gas lights and eerie shadows. Pic is split into two halves, first half is the set-up of a whirlwind romance that leads to marriage, then the move to the marital home and support characters - nosy neighbour (Whitty), housekeeper (Everest), tart housemaid (Lansbury on debut) - are introduced to proceedings. Deft psychological touches are being played out, though wonderfully we never actually see the misdirection machinations actually being done.
Then as the second half happens upon us it really hits the diabolical straps, the methodical manoeuvres of Gregory Anton really start to gnaw away at our senses. We witness Paula come apart, her mind fractured, so vulnerable and confused, you would have to have a heart of stone not to have your very core ache. It’s here where Bergman, in the first of her three Best Actress Oscar wins, excels without duff histrionics. Boyer also is superb, where guided by the astute Cukor he makes Gregory a dashing dastard, only given to subtle clues about his devious and wicked doings.
Cotton doesn’t try to do a British accent, which is fine as he holds his end up well as Brian Cameron, the man getting to grips with what’s actually going on in the Alton home. Brian is our hero in waiting, giving us something to hang onto as the pic reaches revelations point. With Ruttenberg (Oscar Nominated) drifting what would be known as noirish contrasts over the piece, and Kaper’s music unobtrusively subtle, Gaslight hits high marks for tech credit substance. All told it’s a truly great film, and one that’s well worth going back to if you become jaded with the more slick and polished production line genre pieces that follow in its wake. 9/10
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Such an excellent film!