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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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.
I like this movie. I have seen the British version and I like that one too. I don't prefer one over the other. The story is involving and, in both cases, well told.
Boyer probably gives the best performance in either film. Cukor gives the American version an MGM slickness but it works. However, neither is a great film and Bergman, touching as she is, did not deserve the Oscar over Stanwyck for "Double Indemnity."
Rien de très folichon à première vue, ni de spécialement original et pourtant. Film inoubliable, construit avec une maîtrise totale, un sens aigu de la dramaturgie et une géniale prestation d'acteurs aux confins de la perfection. Morceau d'anthologie pour une vidéothèque idéale. A ne rater sous aucun prétexte ! www.cinefiches.com