À Meia Luz

They don't make them like they used to is a lazy thing to say, but they really don't. There's a wonderful tangible and hypnotic innocence to early cinema that we've lost... or progressed from depending how you look at it, but it's great to be able to relive films like this. Paula (Ingrid Bergman) hasn't had a happy start in life, her aunt murdered in her foggy london home. Escaping to Italy she meets and falls for Gregory (Charles Boyer). It's an affluent life, palatial hotels on Lake Como. Were lives of the poor depicted often in 40s cinema? I don't think so, I guess it was a medium purely of escape. Anyway, Gregory fancies settling in London and Paula still owns her aunts house at 9 Thornton Square an address that haunts her, but she puts that aside for Gregory's wishes. I must admit I'm captivated by old London. Cobble streets, horse drawn carriages and of course gaslights. The house is stunning and thanks to the eerie score, quite spooky. Unchanged since that fateful night of the unsolved murder... and full of clues. I don't trust dear Gregory and I'm not sure about Nancy (Angela Lansbury) the new maid either. The sneaky sod is playing mind games, undermining poor Paula, trying to convince her she's losing it. He's a gold digger. Not like Brian (Joseph Cotten) and Miss Thwaites (May Whitty), both who bring much needed warmth. Brian works at Scotland Yard and smells a rat... and a jewel thief, every murder needs a motive. The elderly Miss Thwaites, well she loves a good story and is fascinated by the things that happened at number 9. And might well she be, there's a lot going on in it's walls. Largely down to poor Paula rarely leaving them, slowly being pushed into the role of reclusive madness, by an increasingly manipulative Gregory. It's partly frustrating knowing that Paula is being bullied and unsettling to modern eyes. Yet it's captivating as we expect repercussion, relief, truth and justice. The gaslit house with its shadows and aunties old memorabilia locked up in its top floor, brings an odd supernatural sense to proceedings, but we know what's really going on and Brian is onto something too. Bergman is fantastic in her increasing frailty. Boyer in his domineering menace. Lansbury in with her east end flirting and Cotten as the hero detective. It's a lovely slow burner with fantastic finale.

"Gaslight" (1944) was in its time first a play by Patrick Hamilton and next a psychological thriller of great influence. Since the work was directed by George Cukor, one expects fine performances, and the film delivers several of these; it is in fact unusually well-done in many respects in my judgment. The screenplay by John Van Druten, Walter Reisch and John Balderston has also been widely admired for retaining the theatrical tension of the original work. As produced by Arthur Hornblow Jr., this intelligent but somewhat unsettling drama features understated music by Bronislau Kaper, the fine cinematography of Joseph Ruttenberg, art direction by the great Cedric Gibbons, unusually good set decorations by Edwin B. Willis and costumes design by Irene (Sharaff). But because of the understatement of its scenes, the lack of large scenes of action and image, and the sheer amount of its meaningful dialog, it is an actor's film. The minor players such as Dame May Witty as the heroine's neighbor, Tom Stevenson as Wlliams the policeman, Angela Lansbury as the saucy aid, Barbar Everest as the faithful maid Elizabeth, Emil Rmeau as the maestro, Heather Thatcher as Lady Dalroy, Halliwell Hobbes and Edmund Breon and Lawrence Grossman range in ability from good to exceptional. As the policeman who discerns what is going on that troubles the heroine, played by Ingrid Bergman, Joseph Cotten is dashing, attractive and acceptable as both potential lover and man of action. Charles Boyer has in this film a thankless role, that of a devouring immoralist who has only two possible moods-- brief burst of anger needing to be controlled and an exuded charm that must be slightly overdone at times. These moods he plays very professionally at all points, his timing being not the least of his accomplishments during the film. In the difficult role of a Victorian young woman of intelligence, honesty and vulnerability, Oscar winner Ingrid Bergman earns the award by sustaining a sunny and intelligent personality undergoing a series of slowly-revealed and subtle attacks from her husband, who is trying to convince her she is incapable of independent function. Everything in the film--lighting, use of flights of stairs, objects, blocking, gestures, observers, character and dialog contribute to the overall effect. Even the title, referring to the mysterious changes in the lighting of the house Bergman and Boyer inhabit has meaning here. The film is not a sunny one; but the suspense is in my opinion rather admirably sustained. In tribute to its quality as a drama, I can only say that in the more than six decades since the film was created, no imitation of its male to female menace has come close to achieving anything really approaching its sterling qualities. To have ushered in a sub-genre--the Victorian menaced-female type, and set so high a mark is no small feat. The mystery's solid construction and simplicity of design certainly play a part in the building of its sustained fascination.

A murder leads to leaving and new life, ten years later and you find yourself a wife, a man who lifts you off your feet, then takes you straight back to that street, and the house that's full of pain, riven with strife. You're imprisoned in the place in which you live, turns out that Gregory is controlling, coercive, as you start to lose your mind, there are things you lose, can't find, and your relationship's aggressive, combative. Brian Cameron takes an interest in your plight, as an officer of the law takes up your fight, investigates what's going on, if there's misdeed, any wrong, always under careful watch, of the gaslight.

Great performances all round.

If you're looking for everything you've ever wanted to know about horror, mystery, depression, and suspense, go take a peek into Ingrid Bergman's eyes.

The actress -- who would soon become blacklisted after her marriage to Italian director Roberto Rossellini -- can convey every emotion and nuance of her character through her amazingly expressive eyes. Completely believable in George Cukor's Gaslight as a wife whose husband (Charles Boyer) is trying to make insane, Bergman can show you all her turmoil and emotional stress just by looking around.

The plot is simple, perhaps even arcane. A famous opera singer is murdered in London, leaving behind no motive, no clues, and Paula, the young niece who discovered the body. Paula is sent to Italy, where she, too, studies music, until she elopes with an older, dashing pianist (Boyer). He convinces her to move back to the exact same house where her aunt was murdered, where nothing has been changed in all those years. And, naturally, here is where the movie really begins.

Soon, her husband starts acting very strangely, and starts convincing her that she is very ill and unable to go out. Trapped in the house, alone with her husband, a somewhat-deaf cook, and a tart of a housekeeper, Paula soon starts to hear noises, see things, lose things, and even hide things. Or is she? Is she going mad? Or is her husband -- who she is supposed to love, honor, and obey -- making her mad?

The show is Bergman's to steal, and she does so with gusto, garnering an Oscar for her endeavor. With her performance, Bergman transforms the character of Paula Alquist from a weak, paranoid wimp of a wife into a woman struggling with her own identity and her role in marriage and society. Perhaps unintentionally, perhaps unwittingly, Bergman's Paula is a symbol and a superhero for all women trapped in an abusive marriage. Even today.

Granted, the story line is somewhat contrived, and one can't help but wonder how Paula never notices that her husband is completely evil BEFORE the marriage. Also, Joseph Cotten, as the Scotland Yard detective smitten with Paula's beauty, seems to come out of nowhere. Still, the acting prevails over the plot, and what better actor to come out of nowhere than Cotten? His charm and charisma make up for his character's two-dimensionality.

Although there are faults, Gaslight is an extraordinary film, generating its suspense not from an evil lurking in the shadows, but from the psychology of the mind itself. Perhaps one of the first "pure" psychological thrillers, Gaslight, just like Ingrid Bergman's eyes, contains the perfect blend of mystery, suspense, and beauty.

Not being a big fan of older movies myself (for some reason I really don't know) I decided to go out on a recommendation and rent "Gaslight." And I must be honest, I was impressed.

When Paula was younger, her aunt with whom lived with in Thornton Square in London was murdered by a strangler roaming the streets. Paula goes to stay in Italy, and some time later, meets Gregory. She and Gregory plan to marry, and after they do, they move to London, back to the exact house Paula lived in.

Not too long after, Paula starts to become "forgettful," as Gregory tells her. In fact, he tells her a lot of things...and she believes him. Then things she knows she had put somewhere or remembered doing seem nonexistent, and Paula is left to wonder if her sanity is in check. Then, many times, she starts hearing footsteps, and the gaslights are going down a lot. Is Paula going crazy, or is she being haunted by her dead aunt's spirit...or is it something far more sinister?

I liked this movie a lot. Ingrid Bergman and Charles Boyet were amazing. Bergman portrays her character's emotions to the point that you feel the same way she does. And Boyet is pure evil in this one. Many times watching this, I was thinking, "He is so terrible to her!" It was so psychological, how everything eveloped. The best scene in the whole movie took place at the reception, when Gregory tells Paula he lost his watch, and then finds it in her purse. Then she bursts into tears, and it was so absolutely amazing how the scene was pulled off. In fact, it was so subtle it was scary. You wouldn't expect a missing watch found in her purse to be such a big deal, but it is such a strong scene.

The one thing I didn't like about this otherwise nearly flawless movie was the climax. It was just too dull to me, and the only part I really liked was Paula's wicked sarcasm towards Gregory while they're in the attic. She truly did deserve the Best Actress Oscar for her acting, but nothing could mask the fact that the climax was just too weak. If it had a bit of a touchup, this movie would be perfect.

All in all, I recommend this without hesitation. It is absolutely amazing, and I could watch it again and still enjoy it, and that is quite rare for me. So, I recommend you find this wherever you can and give it a chance. It's a classic.