Beautiful and trusting, Paula Anton is slowly tormented by mysterious happenings in her luxurious Victorian home. The suspect is her devoted husband. But viewing the world through the dim glow of the gaslight, it is difficult to tell what is real and what is imagined.
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3.5* Ingrid Bergman gets on my nerves. I was rooting for Charles Boyer the whole time. And her singing is horrible! If I have to see another one of her pictures I may be the one who goes mad. . . . . . . . . . . . . . . . . My new favorite line: "I'm gaslighting myself."
Gah. Hoping that the reviews here start shifting from "crazy" "neurotic" "innocent" to the less assholish and,
ahem, gaslighting terms "traumatized", or, say, "victim of heavily gendered & socially reinforced patterns of control & abuse" given that it's FREAKING 2017, fellow Mubi ppl. Relevant as ever. Thematically, & for the timeless joy of watching teen Angela Lansbury! Strong film (despite standard silly ending).
I spent the whole film thinking they had miscast the leading lady. Another dame could have taken this to the next level. Strange enough, Ingrid Bergman stole the 1945 Oscar from no other than Barbara Stanwyck, who had given one of her most and one of film's most legendary performances in Double Indemnity. Mad world.
From the start on, we know that Boyer is the villain and Bergman the innocent one, we also know that there will be a happy ending as Gaslight was a mainstream MGM production. So why do we so much care about Bergman's mental health? Simply because she's so good that you forget all that you know as soon as she's on screen. Masterpiece.