This is the original U. K. film version of same name. Most people are familiar with the 1944 American Version starring Ingrid Bergman, Charles Boyer & the screen debut of Angela Lansbury.
Of the two films, the Hollywood production is certainly far more famous, thanks in large part to its star-studded cast. But the British version does a great deal right and is often hailed as the more frightening and potent of the two films. Both are powerful dramas which spotlight an insidious kind of abuse that doesn't leave any marks or evidence.
I have a special place in my heart for Ingrid Bergman so the Hollywood version was a must watch and buy. Now in the Blu-ray specials features incudes the 1940 UK version of Gaslight . I have decided to "go down the rabbit hole " and watch it with an open mind .
1940's Gaslight (released in the United States as Angel Street) is a psychological thriller which stars Anton Walbrook and Diana Wynyard. This version adheres much more closely to the play it was based on than the 1944 remake so I have read.
1940 storyline is a darker more abusive affair than the Hollywood version I did appreciate this sensibility . By the way Walbrook & Wynyard were big stars in Britain .
The issue with the 1940 UK version is the lack of character development. The story is not setup nearly as well so I did not feel the emotional connection to the characters in the U. K. version . In Cukor's film, the part of the abused wife is strengthened by the excellent character study of Paula played by Bergman . Bergman's character is more than just a scared wife and victim. In fact, the film provided the celebrated actress with a memorable showcase, and Bergman plays her with a range that encompasses every emotion on the spectrum. She runs the gamut from being passionately in love and almost naively trusting, to being disoriented, unsure of herself, hysterically terrified, and even vengeful.
She plays her final scene with the gravitas of a Shakespearean tragedy, though she never overdoes her pain and growing confusion keeping the character grounded and sympathetic throughout her horrible ordeal. Bergman more than earns her fist Oscar win .
Both films are beautifully shoot, imbued with unbearable tension. However, Dickinson's film is more claustrophobic, confined entirely to the Victorian home, and it boasts a more pervasive darkness and a more overwhelmingly oppressive atmosphere.
The house in Cukor's film, like its predecessor, is an important character. And, in this version, it's resplendent simply breathtaking to behold. Cedric Gibbons and his team won an Oscar for set design, and it's not hard to see why. In fact, the entirety of Cukor's film is draped in a glamour the original can't match.
In Cukor's film, the part of the abused wife is strengthened, less overshadowed by her villainous husband. Often heralded as a "women's director" (a label he rejected), Cukor was known for giving women fuller roles. As a result, Bergman's character is more than just a scared wife and victim. In fact, the film provided the celebrated actress with a memorable showcase, and Bergman plays her with a range that encompasses every emotion on the spectrum. She runs the gamut from being passionately in love and almost naively trusting, to being disoriented, unsure of herself, hysterically terrified, and even vengeful.
She plays her final scene with the gravitas of a Shakespearean tragedy, though she never overdoes her pain and growing confusion keeping the character grounded and sympathetic throughout her horrible ordeal. Bergman is fabulous .
Gaslight 1940 I thought the acting was wooden and I did not like the way they set up the entire storyline. In my opinion, the 1944 version is vastly superior in every way. I had high hopes for the movie, but I was already disappointed the first half hour. In my opinion, it went downhill from there. It lacked the subtlety and character build up of the predecessor. It's worth watching, but I was very surprised to read that other people preferred it 5/10 .
Of the two films, the Hollywood production is certainly far more famous, thanks in large part to its star-studded cast. But the British version does a great deal right and is often hailed as the more frightening and potent of the two films. Both are powerful dramas which spotlight an insidious kind of abuse that doesn't leave any marks or evidence.
I have a special place in my heart for Ingrid Bergman so the Hollywood version was a must watch and buy. Now in the Blu-ray specials features incudes the 1940 UK version of Gaslight . I have decided to "go down the rabbit hole " and watch it with an open mind .
1940's Gaslight (released in the United States as Angel Street) is a psychological thriller which stars Anton Walbrook and Diana Wynyard. This version adheres much more closely to the play it was based on than the 1944 remake so I have read.
1940 storyline is a darker more abusive affair than the Hollywood version I did appreciate this sensibility . By the way Walbrook & Wynyard were big stars in Britain .
The issue with the 1940 UK version is the lack of character development. The story is not setup nearly as well so I did not feel the emotional connection to the characters in the U. K. version . In Cukor's film, the part of the abused wife is strengthened by the excellent character study of Paula played by Bergman . Bergman's character is more than just a scared wife and victim. In fact, the film provided the celebrated actress with a memorable showcase, and Bergman plays her with a range that encompasses every emotion on the spectrum. She runs the gamut from being passionately in love and almost naively trusting, to being disoriented, unsure of herself, hysterically terrified, and even vengeful.
She plays her final scene with the gravitas of a Shakespearean tragedy, though she never overdoes her pain and growing confusion keeping the character grounded and sympathetic throughout her horrible ordeal. Bergman more than earns her fist Oscar win .
Both films are beautifully shoot, imbued with unbearable tension. However, Dickinson's film is more claustrophobic, confined entirely to the Victorian home, and it boasts a more pervasive darkness and a more overwhelmingly oppressive atmosphere.
The house in Cukor's film, like its predecessor, is an important character. And, in this version, it's resplendent simply breathtaking to behold. Cedric Gibbons and his team won an Oscar for set design, and it's not hard to see why. In fact, the entirety of Cukor's film is draped in a glamour the original can't match.
In Cukor's film, the part of the abused wife is strengthened, less overshadowed by her villainous husband. Often heralded as a "women's director" (a label he rejected), Cukor was known for giving women fuller roles. As a result, Bergman's character is more than just a scared wife and victim. In fact, the film provided the celebrated actress with a memorable showcase, and Bergman plays her with a range that encompasses every emotion on the spectrum. She runs the gamut from being passionately in love and almost naively trusting, to being disoriented, unsure of herself, hysterically terrified, and even vengeful.
She plays her final scene with the gravitas of a Shakespearean tragedy, though she never overdoes her pain and growing confusion keeping the character grounded and sympathetic throughout her horrible ordeal. Bergman is fabulous .
Gaslight 1940 I thought the acting was wooden and I did not like the way they set up the entire storyline. In my opinion, the 1944 version is vastly superior in every way. I had high hopes for the movie, but I was already disappointed the first half hour. In my opinion, it went downhill from there. It lacked the subtlety and character build up of the predecessor. It's worth watching, but I was very surprised to read that other people preferred it 5/10 .