![]() The mid-1940s generated several psychological thrillers but George Cukor’s Gaslight (1944) stands out with an enthralling narrative structure, spectacular production design, and stellar performances delivered by Ingrid Bergman, Charles Boyer and Joseph Cotten. The combination of social disorientation, hopeless romanticism and gendered power struggles unleashed in those post-war years was addressed in a lot of films produced during that period. Originated from the 30s gangster films, this gloomy and pessimistic genre, literally meaning "black film", often address crime issues and consist of dark plots, victimized femininity in contrast to toxic masculinity. It may not be a match for budget and star power with the '44 version but I think it stands well enough on its own.Film noir, emerging in the 1940s, serves as a reflection and presentation of Hollywood with socio-economic problems during the war and post-war periods. It moves quite crisply and doesn't spend time with a lot of overt psychological meanderings. The film wastes no time getting into things. Diana Wynyard does a fine job as the wife. He does do a nice short turn at the piano which he genuinely plays. I did find it a bit confusing as to the reason why he was giving his wife such grief as what he is after, though hers, came from his family. Hardly a wall is not subjected to a covering of them.Īnton Walbrook is properly menacing as the film progresses. It gives as much a feeling of claustrophobia as it does wealth. The set design is quite good too as the house is just covered in and with STUFF. The final tracking shot that ends at a street lamp is especially good. He moves the camera quite a bit and always very smoothly. What do the rest of you think? Any other recommendations about other Thorold Dickinson films?įInally saw the 1940 "Gaslight." As stated there is much to be said for Dickinson's direction. To me, the Cukor Gaslight has a very MGM feel, with the considerable benefits that gloss, glamor, and good taste can bring, with George Cukor's more than capable but perhaps slightly anonymous direction. ![]() The possibility of romance between Diana Wynyard and Robert Newton is present in the Dickinson film, but the feeling at the end is more grim, the escape narrower. Ingrid Bergman and Angela Lansbury have more star power than their talented counterparts, and Joseph Cotten's role has been built up for the Cukor film, which makes for a more romantic resolution. This is most ingenious and satisfying.Īs for the actors, I like both Walbrook and Boyer. As the left half of the door closes on the wife going upstairs, we can see through the open half the maid coming up the stairs, eager to make her play for the master. Another excellent moment occurs when the husband has sent his wife out of the double-doored drawing room up the stairs to her room. I'd never seen any of his films, although The Queen of Spades, with Anton Walbrook and Edith Evans, is now on the watch-for list.ĭickinson begins with a brief account of the earlier crime which occurred in the house, and this is so economical and stylish that I liked the film already. Because I've seen the more famous MGM version a couple of times, though not recently, it seems like the way Gaslight is supposed to be, but there's much to be said for the earlier film, especially the direction of Thorold Dickinson. ![]() Thank you, TCM, for scheduling the original Gaslight (1940), directed by Thorold Dickinson, with Anton Walbrook and Diana Wynyard in the roles later played by Charles Boyer and Ingrid Bergman in the version directed by George Cukor (1944). ![]()
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