SYNOPSIS

Paula Alquist, a wealthy socialite, falls in love with the dashing Gregory Anton. The two marry, and after their return from a romantic Italian honeymoon, Anton insists they live in Paula's childhood home, the place where her aunt, a famous opera star, was murdered. Unknown to Paula, the murderer is still on the loose. In fact, it's her husband and he's currently devising a diabolical trap for her. Anton slowly begins to drive Paula insane in order to commit her to an asylum, leaving him in possession of her family home where her aunt's cache of priceless jewels are hidden. He moves objects in the house, convincing Paula she's misplaced them, and then plants his own possessions in hiding places in order to accuse her of stealing them. Late at night, while pretending to go out for a walk, Anton actually sneaks back into the sealed-off upper floor, sending his wife into hysterics by dimming the gas lights in the home and terrorizing her with ghostly footsteps. Yet, despite Paula's isolated existence, she manages to find an unexpected ally in Brian Cameron, a suspicious Scotland Yard detective.

Director: George Cukor
Producer: Arthur Hornblow, Jr.
Screenwriter: John L. Balderston, Walter Reisch, John Van Druten
Cinematographer: Joseph Ruttenberg
Composer: Bronislau Kaper
Editor: Arthur Williams, Ralph E. Winters
Art Director: William Ferrari, Cedric Gibbons
Costume Designer: Marion Herwood Keyes, Irene
Cast: Charles Boyer (Gregory Anton), Ingrid Bergman (Paula Alquist), Joseph Cotten (Brian Cameron), Dame May Whitty (Miss Thwaites), Angela Lansbury (Nancy Oliver).
BW-114m. Closed captioning. Descriptive video.

Why GASLIGHT is Essential

Romantic young heroines who are threatened and terrorized (or imagine themselves to be) by the man they love were a staple of films in the forties. Joan Fontaine was put through that wringer twice by Alfred Hitchcock, in Rebecca (1940) and Suspicion (1942). The treatment was also doled out to Katharine Hepburn in Undercurrent (1946), Elizabeth Taylor in Conspirator (1949), and to an overwrought, bed-ridden Barbara Stanwyck in Sorry, Wrong Number (1948). While the above films have their merits, Gaslight is easily the most effective entry in the young-wife-in-distress category. Hitchcock's Suspicion, in fact, is a bit of a cheat since the husband turns out to be completely innocent of his suspected crimes.

Based on a hit London stage melodrama, Gaslight was first put on film in 1939 with Anton Walbrook and Diana Wynyard in the leads. Some critics today prefer this nearly forgotten British version, partially because it played so effectively on the subtle cruelties of the English class system. But the 1944 MGM release remains popular and acclaimed for its mounting sense of terror, aided in no small part by the strong, moody direction of George Cukor, known for coaxing superlative performances from his actors, particularly the female cast members.

Ingrid Bergman, who had long coveted the role of the tormented wife being driven insane by her husband in Gaslight, went after the role at MGM after resident star Hedy Lamarr turned it down. Bergman almost missed her chance when Selznick initially refused to loan her to MGM unless she was given first billing over costar Charles Boyer. When Boyer refused to budge on the matter, Bergman went to Selznick in tears begging him to reconsider - which he finally did.

Gaslight won an Oscar® for Best Interior Decoration and was nominated in the categories of Best Picture, Actor (Boyer), Supporting Actress (Angela Lansbury), Screenplay and Black and White Cinematography. The film marked the movie and acting debut of Lansbury, who had been working in a Los Angeles department store before being cast as Nancy, the maid. Director George Cukor was instantly impressed by the fledgling actress's talent and professionalism, and prevailed when the studio resisted hiring her because she wasn't "sexy enough."

By Rob Nixon & Frank Miller