Saturday, May 24, 2014

Gaslight (1940)

Twenty years after the unsolved murder of a singing diva, her hot young nephew (hot young Anton Walbrook) moves back into the stylish London house where it happened, with his new wife (Diana Wynyard). The dashing retired detective (dashing Frank Pettingell), stunned by the the master's resemblance to the dead woman's nephew, snoops around.

Principally we have the same story here, told somewhat differently. Both are based on the same play and this production appears to be truer to the source material. I recommend both movies equally and if you are to see both, I suggest the 1944 Hollywood version first. While Hollywood doesn't keep you in suspense very long, there is no doubt who the bad man is here.So, if you intend on watching either of these films, STOP READING NOW! Spoilers Abound as I compare and contrast.

Ok, then. Here we go.

The first interesting difference is familiar relations. Ingrid's Paula was in the house when her aunt, her legal guardian, was murdered. We see her taken away from the scene, learn a little of her life, then return ten years later. The detective, smitten by the aunt as a young boy, is amazed by the resemblance. We sympathize with her because of the additional details and because, well, she's Ingrid Bergman.

Diana's Bella has no connection to the house and we little to her. We first see her after moving back in and know her only as a frail woman with an angry husband. It's the retired detective who recognizes Anton's Paul Mallen as Louis Barre, who used to live in the same place twenty years prior.

A second change is that we are left to wonder if Paula is crazy. Initially we don't see Boyer manipulate her and can't be sure if she is indeed crazy or not. There is no question with Walbrook. From the onset he is cruel and deceptive. The only mystery is motive.

Also there is an interesting difference in the maid and husband relationship. Hollywood, deep in the throes of Hays Code censorship, hints at an inappropriate relationship. The English production explores that a wee bit more. They go to a burlesque show together. Nudge, nudge.

Apart from these and other minor changes (venue changes from 12 Pemlico Square to 9 Thorton Square, the character name changes, and the Hollywood addition of a society busy-body), there are remarkable similarities. Many key scenes are replicated in both, and the acting, sets, and photography are both top notch. All in all, the only real difference between the two is the Hollywood shine on the latter. Both are very much worth your time. We should be thankful that this film was not lost to us forever. AMRU 4.
"How did you get in here?"
"Interesting things about us ghosts, we don't have to bother with doors."

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