![]() In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Gaslight was released theatrically on May 4, 1944, by Metro-Goldwyn-Mayer to critical acclaim and box-office success, grossing $4.6 million on a $2 million budget, and received seven nominations for the 17th Academy Awards, including for the Best Picture, winning two: Best Actress (for Bergman), and Best Production Design. The film features numerous deviations from the original stage play, though the central drama remains that of a husband trying to drive his wife insane in order to distract her from his criminal activities. To avoid confusion with the first film, Cukor's version was originally titled The Murder in Thornton Square in the UK. Ī remake of the 1940 British film of the same name directed by Thorold Dickinson, Cukor's version had a larger scale and budget than the earlier film, and lends a different feel to the material. Balderston from Patrick Hamilton's play Gas Light (1938), it follows a young woman whose husband slowly manipulates her into believing that she is descending into insanity. Adapted by John Van Druten, Walter Reisch, and John L. Winters.Gaslight is a 1944 American psychological thriller film directed by George Cukor, and starring Charles Boyer, Ingrid Bergman, Joseph Cotten and Angela Lansbury in her film debut. Willis and Paul Huldschinsky, the costumes by Irene and Marion Herwood and the film editing by Ralph E. Also worth of note are the set decorations by Edwin B. Bronislau Kaper did the compelling music score, and Cedric Gibbons and William Ferrari the stunning art direction. Meritorious photography is the contribution of Joseph Ruttenberg, who is in the habit of making his work count. The others, headed by Emil Rameau as the musical teacher, do yeoman service in brief assignments. Dame May Whitty provides a priceless note of humor as the busybody neighbor, and Barbara Everest scores a solid, if unspectacular success as the cook. Her talents are marked to be able to stand out in such company. A fascinating Cockney maid is portrayed by Angela Lansbury in a debut of great promise. This is the job for which Cukor admirers have been waiting.Ĭotten has a relatively incidental role as a Scotland Yard man, but he does it with dashing presence. ![]() He utilizes small mosaics of sharp characterization in building to his climax and works in each facet faultlessly. And he increases his acting stature by playing the part, much as did Robert Montgomery by appearing in Night Must Fall.ĭirection by George Cukor is ever a display of fine craftsmanship. It is a far cry from his average romantic roles, actually his first unmitigated screen villainy. She is saved only by the timely intervention of the police who have never been satisfied with the mystery surrounding her aunt’s demise.īoyer’s performance of the husband is really brilliant. The husband seems intent upon driving his wife insane by psychological suggestion and, with diabolical cunning, lead her to doing away with herself. He plants the thought in her mind that she does not always remember what she has done, that she loses things which have been given to her, that her sanity may be impaired. ![]() Without her unforced ability to capture the very spirit of youth, the prologue would have been impossible.įollowing their return to London, a subtle change begins in her husband’s attitude. Miss Bergman is indescribably lovely as the young wife, but even more remarkable is her appearance as the teen-age child, quite the youngest girl you have ever seen an established actress portray seriously. But she gives up her music when she falls in love and marries the man who is her accompaniment, then with her husband returns to Thornton Square. She leaves the old house on Thornton Square, London, to study singing on the Continent. This introduces the heroine as a girl in her ‘teens, deeply touched by the tragedy of her aunt’s mysterious murder. True, a prologue has been added to the original play. In the complete honesty of the melodrama rests its strong bid for outstanding box office. Hornblow is to be congratulated for his sagacity in avoiding the usual Hollywood “production touches.” He has a melodramatic tale to tell, and he gives it to audiences straight-from-the-shoulder. There is the properly terrifying atmosphere of the Drury Lane era in this piece, the emotional content of which relentlessly grips and holds absorbed interest.
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