Gaslight (A- or 3.5/4 stars)
The 1st 30 min. or so of 1944's 'Gaslight' (directed by the great George Cukor) is deceptive in that, we think we're in for a romantic drama ... not so. The film opens by introducing us to Paula Alquist (Ingrid Bergman), a 20-something yr. old singer studying music in Italy during the late 1800s. But her attention to singing has waned as of late because, as it turns out, she's in love & due to marry socialite, Gregory Anton (Charles Boyer). Paula stops her musical studies and, in no time, she & Gregory are on their honeymoon in picturesque Lake Como. Now, at this point in the story, 'Gaslight' takes a darker turn. Gregory persuades Paula to move into the inherited English townhouse that she lived in as a child, which has been closed-up since her aunt was murdered there a decade ago.
Once moved in, Gregory 'seems' loving/caring, but he shuts Paula up in the house; preying on her fears & weaknesses by making her doubt her own sanity. He convinces her that she's always misplacing items, that she sees things that aren't there, that she's having delusions, and, as a result, isn't well enough to take ANY visitors. During this sinister streak in him, Gregory also hires a hard-bitten young maid, Nancy (18 yr. old Angela Lansbury in her 1st film), who holds her mistress in utter contempt. Every night, while Gregory goes out, the gaslights inside the house flicker & Paula hears nocturnal bumps coming from the attic. Of course, Gregory persuades her that these are just her delusions playing tricks on her. But just as Paula's fragile psyche is about to break for good, she encounters Brian Cameron (Joseph Cotten) of Scotland Yard. With his help, they can - perhaps - discover what clandestine business Gregory is up to when he departs the house each night.
Seeing this film today in 2014, audiences without an appreciation for this type of film could find it too slow-moving or obvious. But there are too many superb components of 'Gaslight' to dismiss and, back in 1944, it was a film the likes had rarely, if ever, been made ... the psychological thriller. Paula's self-doubt builds & builds as her devious husband meticulously orchestrates her downward spiral into insanity. And scarier yet, since Gregory only lets her see HIM, she never really senses that he represents a threat of anything out of the ordinary. Furthermore, with only 1 young maid & 1 old servant in the household (and very loyal to their master), she has no point-of-reference against which to gauge the stability of her mind -- she's at a complete loss.
Beautifully filmed in gloomy black-&-white photography, 'Gaslight' exhibits all the visual elements of a classic 1940s film noir. The attention to detail is also exceptional. The streets of London are cloaked with fog & the large, lonely townhouse where most of the action transpires is full of ornate antiques, long shadows & creepy occurrences; like the aforementioned bizarre noises-in-the-night. The house, usually a symbol of security, becomes a trap of terror for our heroine. The milieu created for we, the viewers, allows us all to feel the walls closing in on Paula as the situation grows worse. It's a paranoid, claustrophobic confinement for Paula; perfectly conveyed by director Cukor, his cinematographer, & his Oscar-winning production design team.
Ingrid Bergman gives a stunning performance as vulnerable, harried Paula. We feel for her and, her portrayal here cemented her as one of Hollywood's top talents (in the wake of Casablanca & For Whom the Bell Tolls). Charles Boyer's Gregory transitions from eloquent, debonair gentleman-to-cunning villain with impeccable ease. The success of said transformation is a testament to Boyer's thespian range. Joseph Cotten is solid as the knowing Scotland Yard detective. Angela Lansbury imbues Nancy with an insolent nature that makes her Gregory's perfect, albeit unknowing accomplice. And I enjoyed Dame May Whitty as the doddering neighbor who feeds off of gossip & is obsessed with discovering why Paula won't leave her townhouse.
As mentioned above, 'Gaslight' may be a bit slow and/or tame by audience standards today. I also think the ending is a tad weak (though, I'm finding that to be the case with many films of the 40s/50s). But it is a classic and, having seen it now, I understand why. This was one of the first (and best) psychological thrillers and, really, it's as much a character study as it is a thriller. I also think it's a great film about the art of manipulation. By cutting Paula off from the world & constantly telling her that she is incompetent, she starts to become the person Gregory tells her that she is ... that's scary (and the film never resorts to violence or gore for effect). 'Gaslight' is an atmospheric, wonderfully-crafted, genre-melding "Don't Trust Your Husband" flick that that is best to watch alone in the dark {hehe}.
Once moved in, Gregory 'seems' loving/caring, but he shuts Paula up in the house; preying on her fears & weaknesses by making her doubt her own sanity. He convinces her that she's always misplacing items, that she sees things that aren't there, that she's having delusions, and, as a result, isn't well enough to take ANY visitors. During this sinister streak in him, Gregory also hires a hard-bitten young maid, Nancy (18 yr. old Angela Lansbury in her 1st film), who holds her mistress in utter contempt. Every night, while Gregory goes out, the gaslights inside the house flicker & Paula hears nocturnal bumps coming from the attic. Of course, Gregory persuades her that these are just her delusions playing tricks on her. But just as Paula's fragile psyche is about to break for good, she encounters Brian Cameron (Joseph Cotten) of Scotland Yard. With his help, they can - perhaps - discover what clandestine business Gregory is up to when he departs the house each night.
Seeing this film today in 2014, audiences without an appreciation for this type of film could find it too slow-moving or obvious. But there are too many superb components of 'Gaslight' to dismiss and, back in 1944, it was a film the likes had rarely, if ever, been made ... the psychological thriller. Paula's self-doubt builds & builds as her devious husband meticulously orchestrates her downward spiral into insanity. And scarier yet, since Gregory only lets her see HIM, she never really senses that he represents a threat of anything out of the ordinary. Furthermore, with only 1 young maid & 1 old servant in the household (and very loyal to their master), she has no point-of-reference against which to gauge the stability of her mind -- she's at a complete loss.
Beautifully filmed in gloomy black-&-white photography, 'Gaslight' exhibits all the visual elements of a classic 1940s film noir. The attention to detail is also exceptional. The streets of London are cloaked with fog & the large, lonely townhouse where most of the action transpires is full of ornate antiques, long shadows & creepy occurrences; like the aforementioned bizarre noises-in-the-night. The house, usually a symbol of security, becomes a trap of terror for our heroine. The milieu created for we, the viewers, allows us all to feel the walls closing in on Paula as the situation grows worse. It's a paranoid, claustrophobic confinement for Paula; perfectly conveyed by director Cukor, his cinematographer, & his Oscar-winning production design team.
Ingrid Bergman gives a stunning performance as vulnerable, harried Paula. We feel for her and, her portrayal here cemented her as one of Hollywood's top talents (in the wake of Casablanca & For Whom the Bell Tolls). Charles Boyer's Gregory transitions from eloquent, debonair gentleman-to-cunning villain with impeccable ease. The success of said transformation is a testament to Boyer's thespian range. Joseph Cotten is solid as the knowing Scotland Yard detective. Angela Lansbury imbues Nancy with an insolent nature that makes her Gregory's perfect, albeit unknowing accomplice. And I enjoyed Dame May Whitty as the doddering neighbor who feeds off of gossip & is obsessed with discovering why Paula won't leave her townhouse.
As mentioned above, 'Gaslight' may be a bit slow and/or tame by audience standards today. I also think the ending is a tad weak (though, I'm finding that to be the case with many films of the 40s/50s). But it is a classic and, having seen it now, I understand why. This was one of the first (and best) psychological thrillers and, really, it's as much a character study as it is a thriller. I also think it's a great film about the art of manipulation. By cutting Paula off from the world & constantly telling her that she is incompetent, she starts to become the person Gregory tells her that she is ... that's scary (and the film never resorts to violence or gore for effect). 'Gaslight' is an atmospheric, wonderfully-crafted, genre-melding "Don't Trust Your Husband" flick that that is best to watch alone in the dark {hehe}.