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Gaslight (1944)

Not Rated | | Crime, Drama, Film-Noir | 30 October 1944 (Sweden)
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1:54 | Trailer
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.

Director:

George Cukor

Writers:

John Van Druten (screenplay), Walter Reisch (screenplay) | 2 more credits »
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Popularity
4,321 ( 643)
Won 2 Oscars. Another 4 wins & 7 nominations. See more awards »

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Cast

Complete credited cast:
Charles Boyer ... Gregory Anton
Ingrid Bergman ... Paula Alquist
Joseph Cotten ... Brian Cameron
May Whitty ... Miss Thwaites (as Dame May Whitty)
Angela Lansbury ... Nancy
Barbara Everest Barbara Everest ... Elizabeth
Emil Rameau Emil Rameau ... Maestro Guardi
Edmund Breon ... General Huddleston
Halliwell Hobbes ... Mr. Muffin
Tom Stevenson Tom Stevenson ... Williams
Heather Thatcher ... Lady Dalroy
Lawrence Grossmith Lawrence Grossmith ... Lord Dalroy
Jakob Gimpel Jakob Gimpel ... Pianist
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Storyline

After the death of her famous opera-singing aunt, Paula Alquist (Ingrid Bergman) is sent to study in Italy to become a great opera singer as well. While there, she falls in love with the charming Gregory Anton (Charles Boyer). The two return to London, and Paula begins to notice strange goings-on: missing pictures, strange footsteps in the night, and gaslights that dim without being touched. As she fights to retain her sanity, her new husband's intentions come into question. Written by Jwelch5742

Plot Summary | Plot Synopsis

Taglines:

Strange drama of a captive sweetheart! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Did You Know?

Trivia

Director George Cukor suggested that Ingrid Bergman study the patients at a mental hospital to learn about nervous breakdowns. She did, focusing on one woman in particular, whose habits and physical quirks became part of the character. See more »

Goofs

When Nancy is following Elizabeth up the stairs, they are both carrying several folded sheets. Immediately when they reach the top of the landing the camera focuses close-up on Nancy, who is looking at the closed off top floor - in this shot she is not carrying the sheets. See more »

Quotes

Nancy Oliver: Gonna work on your tunes again tonight, sir? You're always working, aren't you?
Gregory Anton: Yes. What are you doing with your evening out?
Nancy Oliver: Oh, I'm going to a music hall...
[starts to sing 'Up in a balloon']
Gregory Anton: I've never been to an English music hall.
Nancy Oliver: Oh, you don't know what you've missed, sir...
Gregory Anton: And whom are you going to the music hall with?
Nancy Oliver: A gentleman friend, sir.
Gregory Anton: Oh, now you know, Nancy, don't you, that gentlemen friends are sometimes inclined to take liberties with young ladies.
Nancy Oliver: Oh no, sir, not with me. I can ...
[...]
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Crazy Credits

The opening and closing credits are displayed over a background of a burning gaslight. If you look at the shadow on the wallpaper, you see a man strangling a woman. See more »

Alternate Versions

Exists in a computer-colorized version. See more »

Connections

Referenced in Blue Bloods: Mind Games (2018) See more »

Soundtracks

Piano Sonata No. 8 in C minor, Op. 13 (Pathetique)
(1798) (uncredited)
Written by Ludwig van Beethoven
See more »

User Reviews

 
Solidly-written ground-breaking psychological mystery; it's Bergman's show
24 July 2007 | by silverscreen888See all my reviews

"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.


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Details

Country:

USA

Language:

English | Italian

Release Date:

30 October 1944 (Sweden) See more »

Also Known As:

Gaslight See more »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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