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IMDbPro

Gaslight

  • 1940
  • Approved
  • 1h 24min
VALUTAZIONE IMDb
7,3/10
5701
LA TUA VALUTAZIONE
Anton Walbrook and Diana Wynyard in Gaslight (1940)
DrammaMisteroRomanticismoThrillerThriller psicologico

Aggiungi una trama nella tua linguaTwenty years after the murder of Alice Barlow, her house is finally occupied again. However, the husband from the couple who has moved in has a secret that he will do anything to keep hidden... Leggi tuttoTwenty years after the murder of Alice Barlow, her house is finally occupied again. However, the husband from the couple who has moved in has a secret that he will do anything to keep hidden.Twenty years after the murder of Alice Barlow, her house is finally occupied again. However, the husband from the couple who has moved in has a secret that he will do anything to keep hidden.

  • Regia
    • Thorold Dickinson
  • Sceneggiatura
    • Patrick Hamilton
    • A.R. Rawlinson
    • Bridget Boland
  • Star
    • Anton Walbrook
    • Diana Wynyard
    • Frank Pettingell
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,3/10
    5701
    LA TUA VALUTAZIONE
    • Regia
      • Thorold Dickinson
    • Sceneggiatura
      • Patrick Hamilton
      • A.R. Rawlinson
      • Bridget Boland
    • Star
      • Anton Walbrook
      • Diana Wynyard
      • Frank Pettingell
    • 93Recensioni degli utenti
    • 28Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto1222

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    Interpreti principali20

    Modifica
    Anton Walbrook
    Anton Walbrook
    • Paul Mallen
    Diana Wynyard
    Diana Wynyard
    • Bella Mallen
    Frank Pettingell
    Frank Pettingell
    • Rough
    Cathleen Cordell
    Cathleen Cordell
    • Nancy
    Robert Newton
    Robert Newton
    • Ullswater
    Jimmy Hanley
    Jimmy Hanley
    • Cobb
    Minnie Rayner
    Minnie Rayner
    • Elizabeth
    Marie Wright
    Marie Wright
    • Alice Barlow
    Aubrey Dexter
    Aubrey Dexter
    • House Agent
    Mary Hinton
    Mary Hinton
    • Lady Winterbourne
    Angus Morrison
    Angus Morrison
    • Pianist
    Jack Barty
    Jack Barty
    • Chairman of Music Hall
    The Darmora Ballet
    • Dancers
    Alfred Atkins
    • Bit Role
    • (non citato nei titoli originali)
    Edwin Ellis
    • Bit Role
    • (non citato nei titoli originali)
    Kathleen Harrison
    Kathleen Harrison
    • Bit Role
    • (non citato nei titoli originali)
    Katie Johnson
    Katie Johnson
    • Alice Barlow's Maid
    • (non citato nei titoli originali)
    Molly Raynor
    • Bit Role
    • (non citato nei titoli originali)
    • Regia
      • Thorold Dickinson
    • Sceneggiatura
      • Patrick Hamilton
      • A.R. Rawlinson
      • Bridget Boland
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti93

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    Recensioni in evidenza

    9planktonrules

    try to find this version instead of the Hollywood one

    Although Ingrid Bergman and Charles Boyer got a lot of press for the movie GASLIGHT, the film was actually a remake of a British film made only a few years earlier. It seems that the big-wigs at the studio wanted to remake the film but pretend that it was an original Hollywood production so they bought up the prints and the remade film went on to be considered a "classic". However, recently the ORIGINAL version from 1940 has been discovered and has been shown on Turner Classic Movies.

    Having seen both versions, I found them awfully similar--but I would have to say that I preferred the original. The wonderful Anton Walbrook was a wonderful and even more menacing husband and I just could see no reason why the movie should have been remade. It's really a shame, too, as I am sure that those associated with the original must have wished they'd gotten all the attention the 1944 version received.

    My advice is see them both. However, if you only plan on seeing one, see this one--it's just a better film!
    9film-critic

    Stop titivating yourself, come on.

    What a crisp, deeply rooted thriller Thorold Dickinson created. With vile creatures (Paul) and goofy policemen and maids, we are easily captured into the world of the Mallens. Diana Wynyard does a spectacular job as Bella, giving us the right amount of insecurity coupled with fear. She is the true victim of this film and Dickinson does not let us forget that. Wynyard is nearly overshadowed by my favorite character of the film, Paul Mallen, played with so much evil by Anton Walbrook. I have seen several films in my life, and I must say that Walbrook ranks among some of the most sinister villains of them all. He has no super powers, just the ability to manipulate Bella mentally, proving that he is stronger than her. He thrives on Bella's insecurities and makes them into his greatest form of punishment. These two working together really transformed this 40s thriller into something concrete and powerful. It is the dynamic between the two that kept me glued to my seat and continually asking for more.

    Coupled with the superb acting is the creativeness of Dickinson and his writer A.R. Rowlinson. Together they set the mood with darkened corners and alleyways with that constantly looming feeling that the events are going to get grittier down the road. This team made Victorian London a spooky place to visit at night. They make Bella the victim throughout this entire film, making even me wonder if she really was slowly going mad. It isn't until the end that the truth is revealed and even then we are left in suspense. It isn't until the credits roll is the film over, and that is hard to accomplish for directors of the thriller genre today. Dickinson proved that he could handle all the elements with the greatest of ease and bring them to the screen in a film that would last the test of time. I am not embarrassed to show this film to friends because I do believe that they would see the value in this production.

    Grade: ***** out of *****
    9TheLittleSongbird

    In the shadow of the later version, but doesn't deserve to be

    It is inevitable that this 1940 film and the 1944 "remake" with Charles Boyer and Ingrid Bergman are going to be compared, and people will have different opinions as to which is the better version.

    To me, both 'Gaslight' films are great in their own way, and this reviewer ranks them equally, yet with one or two things in things that are done better in the other. Like the 1944 film (the only real drawback to that film was the uneven performance of Joseph Cotton), there is very little wrong here. The secondary characters could have been better fleshed out, and while Richard Adinsell's music score is suitably ominous Bonislau Kaper's score for the later version has more atmosphere, subtlety and tension.

    However, while not as glossy as the later film 'Gaslight' (1940) regardless is incredibly well-made. It's shot beautifully and menacingly, is hauntingly lit and has sets that are picturesque yet give off a great amount of dread while over-stating it. It's intelligently and suspensefully directed by then-famous-and-well-regarded, now-almost-forgotten (undeservedly) Thorald Dickinson.

    The script is thought-provoking and tense, everything feels relevant to what's going on and nothing seemed padded. Tighter-paced and more theatrical somewhat, the story never creaks and is leaden with tension and suspense with nothing obvious that came over as unnecessary or clumsy.

    Performances are great here and hardly inferior to those in the later film, despite being less familiar. Anton Walbrook, while not as subtle as Charles Boyer, is terrifying and a huge part as to why the film is as atmospheric as it is. Diana Wynward demonstrates Bella's vulnerability incredibly movingly with no histrionics and she's hardly dull either (though the character has more range and depth to her in the 1944 version).

    Frank Petingell looks more comfortable than Joseph Cotton, his performance is more even (though Cotton was hardly bad), the character is better written and he is more believable as a police officer (where Cotton's performance particularly fell down on). Robert Newton is a strong presence in an early role, and Cathleen Cordell is a hoot as Nancy.

    All in all, despite being in the shadow of the 1944 'Gaslight' in popularity the earlier 1940 film doesn't deserve to be, because it is every bit as great. 9/10 Bethany Cox
    Harold_Robbins

    Streamlined & Suspenseful

    Let's face it - the British do psychological suspense VERY well! This 1940 British production is more streamlined and suspenseful than the MGM version of 1944, as it sticks more closely to Patrick Hamilton's play. The MGM version had more 'back-story' and padding to it. I love Diana Wynyard - she was lovely to look at and seemed wonderfully edgy and vulnerable - I wasn't surprised to learn that she played the anguished mother in the West End production of THE BAD SEED - she's really only remembered today for this film and CAVALCADE (1933), but she's definitely worth watching. Anton Walbrook is a little hammier than Boyer was, and there are those obvious streaks in his hair to make him look a little older - but he has a wonderful moment at the films end when, quite suddenly, his eyes go wild and you can tell that he's completely lost his mind - might have been a nice touch if the 1944 had included such a moment. Highly recommended.

    I've noticed that people seem surprised that MGM attempted to suppress the 1940 British version of GASLIGHT to avoid any competition with their version. I don't know why anyone should be surprised - Hollywood's business is a cut-throat one: remember that L.B. Mayer, along with Jack Warner and others, offered to buy CITIZEN KANE from RKO and then destroy it, all to appease William R. Hearst - fortunately they didn't (just imagine the history of film since 1941 if they had!) And although MGM didn't destroy all prints of GASLIGHT, they did manage to keep it out of sight for many years - I think I first saw it on a cable station in the early 1980s - I tuned in expecting Boyer and Bergman and got Walbrook and Wynyard - as it turned out I didn't mind at all, and have enjoyed it many times since! MGM did the same thing with Paramount's 1932 DR. JEKYLL AND MR. HYDE which, except for an occasional screening, went unseen (but much written about) until it came out on video around 1990 (under the MGM label - imagine that!)
    jamesraeburn2003

    "Creates an air of electric tension that Hollywood could only envy."

    In Victorian London, Louis Bower (Walbrook), murdered his aunt for her precious rubies that are hidden somewhere in her house, only he couldn't find them. Having eluded the police for a number of years and changed his name to Paul Mallen, he takes a wife in the fragile Bella (Wynyard), and the couple move back into the house so that he can continue his search under cover as a respectable Victorian husband. At the same time he tries to drive his wife out of her mind because he is afraid that she might discover his guilty secret...

    The first film version of Patrick Hamilton's successful stage play is technically modest compared to the 1944 Hollywood remake (see my review), but this British National production directed by Thorold Dickinson creates an atmosphere of genuine electric tension that Hollywood could only envy. Hardly surprising really that they tried to destroy the negative of this picture. Fortunately prints have survived and it often turns up on TCM every few months. Good performances too, especially from Walbrook who portrays the villain as a vile Victorian bully whereas Charles Boyer played it smooth. Wynyard does well as the tortured wife while Cathleen Cordell is fine as the tarty parlour maid whom Walbrook uses to add insult to his wife's injury.

    The film was available in the UK on VHS but it has since been deleted, although the Hollywood version is out on DVD. Let's hope this version finds it's way on to DVD too.

    Trama

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    • Quiz
      When MGM remade the film with Charles Boyer and Ingrid Bergman, the studio attempted to have all prints of this earlier version destroyed. Fortunately, several prints escaped the fire (in fact, it is believed that director Thorold Dickinson surreptitiously struck a print himself before the negative was lost).
    • Blooper
      After the murder of the old lady in 1865, a police constable is shown blowing a whistle to summon assistance. Whistles were not used by the Metropolitan Police until the 1870s; prior to that they used a football rattle to attract attention.
    • Citazioni

      Rough: I really am a remarkable man. It's my memory. They shall have it for the museum when I die.

    • Connessioni
      Featured in The Kenny Report: Episodio datato 3 settembre 2024 (2024)
    • Colonne sonore
      The Can-Can
      (uncredited)

      from "Orpheus in the Underworld"

      Music by Jacques Offenbach

      Arranged by Richard Addinsell

      Played at the music hall and danced to by The Darmora Ballet

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    Dettagli

    Modifica
    • Data di uscita
      • 31 agosto 1940 (Regno Unito)
    • Paese di origine
      • Regno Unito
    • Lingua
      • Inglese
    • Celebre anche come
      • Angel Street
    • Luoghi delle riprese
      • D&P Studios, Denham, Uxbridge, Buckinghamshire, Inghilterra, Regno Unito(Studio)
    • Azienda produttrice
      • British National Films
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 24 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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