Hantise

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.

They say a film is as good as the villain, but sometimes, the villain might be too good for the film's own good. I don't think I've been as distraught and upset by a villain as I was by the manipulative expert Gregory Anton in George Cukor's "Gaslight", the most famous and best adaptation of Patrick Hamilton's play.

Indeed, enduring the psychological torture he applied to his love-seeking wife Paula, played by an emotionally versatile Ingrid Bergman, was such an infuriating experience that I left almost one decade between the first and the second viewing, and I literally tiptoed to the DVD to force myself to refresh my memory. After the first fifteen minutes, just when I thought I could stand it, I realized that any horror movie would have been more supportable... or am I overreacting?

I think there must have been some strong reaction toward that novelty of a plot where a person drove another one insane through mental manipulation to the point that "gas light" became part of common language... that's how impactful it was. Not many movies deal with that particular device, but this is how "Gaslight" was revolutionary and sophisticated in a twisted way, suiting the emerging noir genre.

The "gas light" effect referring to the dimming of the light that made Paula believe she was going crazy isn't effective on a narrative level because it's driven by a fact but rather by the seeds of doubt it sows on her mind. We know for a fact that a woman is being manipulated but only suspicion can heal her from her husband's cruel dominance.But she can't suspect him because she loves him in a way that echoes Stockholm Syndrome and he's a Machiavellian gourmet who knows exactly the amount of cruelty and suavity to apply.

Charles Boyer's with all these cunning eyes, that mouth always wary about not letting a word slip, and his faux-affable "French lover" manners, elevate his characters to summits of vileness and gaining extra altitude by a symmetric effect with Ingrid Bergman who brings an extraordinary level of pathos while maintaining a strange aura of dignity. This is a woman whose heart and mind are slowly shred to pieces but she's resigned to believe any word of her beloved husband because she can envision anything except such capability of vileness.

Why would the gaslight dim every night? Why would she hear noises the servant doesn't notice and why would Gregory be wrong if the second maid wasn't so arrogant and defiant? Even Angela Lansbury in her screen debut is perfect in the role of Nancy, the street smart and slightly slutty maid whose deadpan and snarky attitude is more affecting than any hint of false empathy or true detachment. This is a free-spirited woman yet manipulated by the way Gregory exploits every element of the environment and every possible situation. So what we have is a conspiracy perfectly oiled where Cukor makes us witness the action while making us as powerless as Paula. We're like passive observers bound and gagged and undergoing the villain's sadism. In a way, if we consider anger as a brief madness, we're also being "gaslighted" by Cukor.

The mark of great films is to elicit strong responses; and watching "Gaslight" a second time reminded me of something I meant as a compliment after my initial viewing, I thought it was the most Hitchcockian non-Hitchcock film... and the presence of Dame May Whitty or Joseph Cotten play like interesting nods to "The Lady Vanishes" and "Shadow of a Doubt". In"Vanishes", the main protagonist was toyed with her own certitudes and lured into doubting her own sanity and "Shadow" is about a villain who's a close parent. "Gaslight" makes these two plot points converge beautifully but there is another Hitchcock classic it bears a kinship with: "Suspicion".

And I think I can now be more explicit about what bothered me with "Suspicion" and that makes "Gaslight" a superior movie. In "Suspicion", the husband's guilt was the central theme but worked as a double edged word, if he was guilty, then he left too many hints to be a believable villain, if he wasn't, it was anticlimactic. In "Gaslight", we know the villain from the start and we know he's good at hiding his vileness (the essence of 'gaslighting') and the frustration doesn't come from the act but the lack of suspicion, the point is the psychological struggle within a woman whose passion blinds her mind and endangers it, a woman who trades her self-esteem for the sake of the most harmful person she could ever meet.

"Gaslight" foreshadowed, no pun intended, the way film noir would dominate post-war cinema, at a time where many people were blinded by patriotism and driven to real madness by leaders who had contempt for them. "Gaslight" is also a marvel of film noir in its use of the nightmarish fog of London Victorian streets used as the perfect camouflage for a Jekyll/Hyde villain, and where d the walls of respectability of an ordinary house, hid the claustrophobic nightmare of a woman lost among so many useless items and trophies, being the most precious one of all... or the most disposable.

Boyer, Lansbury were all Oscar-nominated, but it was Bergman who won the first of her three Oscars and deservedly so. In what could have been a one-note performance she explores every possible shade of fragility, doubt and panic, disbelief and resignation, whiplash moods orchestrated by her evil husband until her shining moment at the end, perhaps one of the most satisfying cinematic rants, when the whole scheme of Gregory backfires in the most delightful way.

But I still wonder why he wasn't listed in AFI's Top 50 villains, the film made the "thrills" list but hey, who made the thrills?

Ingrid Bergman plays Paula, an orphaned Victorian-era Londoner whose opera-singer aunt is murdered at the beginning of the movie. She moves to Italy to follow in her aunt's footsteps as a diva, but falls in love and returns to London with her new husband (Boyer) to live in her aunt's empty house. There, she becomes the victim of a carefully-orchestrated campaign to drive her insane.

GASLIGHT is richly atmospheric, mostly well-acted, and beautifully photographed. There are chills aplenty as seemingly innocent people grow progressively creepier, and the movie is well-paced with each successive scene increasing Paula's terror. The climax is tense and has a certain poetic justice to it.

The chief flaw in the movie is that we are clearly shown from the beginning that Paula is the victim of a third party and is not insane. Thus we cannot share the doubts and terror that she feels. We are not, like her, wondering if we can trust our senses, but merely wondering who is doing this to her. And the latter question isn't very challenging to answer. With a little more subtlety, Cukor could have left us as much in the dark as Paula about why she is experiencing so many strange phenomena, and made this effective little film into a true masterwork of suspense. As it is, GASLIGHT is good, but fails to achieve its potential to match such classics as REBECCA or VERTIGO.

Bergman and Boyer make a very dynamic on-screen duo. The film does suffer from Joseph Cotten, whose apple-pie American accent makes for a very unconvincing Scotland Yard inspector. Angela Lansbury is delightfully saucy in her film debut as a Cockney maidservant. Dame May Whitty provides effective comic relief.

GASLIGHT is well worth a rental at any price, so long as your expectations aren't overly high.

Rating: *** (out of ****).

This American-made version of the English thriller "Gaslight" is well-crafted and well-acted, with many moments of good suspense and tension.

Ingrid Bergman and Charles Boyer work very well in the two leads, and they get considerable help from the rest of the cast and the production.

The character of the fragile, self-doubting Paula is an ideal role for Bergman, who conveys Paula's anxious uncertainty while keeping her sympathetic and even engaging. Boyer likewise comes across very believably as her calculating husband, and the two leads make their characters into a strong foundation for the tense story.

Joseph Cotten does not really seem as if he could be a Scotland Yard detective, but in a more general way, he succeeds pretty well as a sympathetic policeman who wants to help personally while striving to get at the facts of the matter. A very young Angela Lansbury gives her character some pointed moments, and she becomes a useful part of creating the right atmosphere.

The story does, of course, have some less plausible elements, but it is written carefully enough that the seams rarely show. In fact, it seems to have been constructed rather carefully, so as to provide subtle hints that can be made use of later on. It all makes for a satisfying drama that also provides a pretty good showcase for its stars.

The first scene establishes the dreary tone of the film. It is nighttime in London and a murder goes unsolved. The magnificent Ingrid Bergman portrays Paula, the niece of the deceased woman. After living ten years trying to forget the past, Paula returns to her house in London at the suggestion of her new husband, Gregory (Charles Boyer). "I've found peace in loving you," Paula says and decides with the help of her husband, she is ready to face the past. Fear is an essential element in the story. It seems the police cannot find a motive for the murder but when a new young assistant comes to Scotland Yard, he sees something that others did not notice or would not pursue. The murderer remains at large and his next potential victim has returned to the very house where the first murder was committed.

The cast's flawless talent makes the film absolutely unforgettable. Charles Boyer is exceedingly ominous as Paula's obsessive husband. As the high-strung wife, Ingrid Bergman gives an outstanding performance. She is startling and brilliant. Brian Cameron, played by Joseph Cotton, makes his appearance later in the film but is wonderful nonetheless. Watch for the emphasis on foreshadowing and the beautiful lighting achieved in Gaslight, as well as the particular attention to the many details that make it spectacular. George Cukor's fantastic direction of this intriguing and suspicious tale will keep you on the edge of your seat.