Given its obscurity most film watchers will have watched the 1944 version of the play by Patrick Hamilton. It seems MGM in promoting the Bergman, Boyer teaming wanted this print to disappear fast so it bought and burned prints. Whether in comparison or on its own it holds its own, featuring an excellent performance from Anton Walbrook as the jade crazed murderer.
Paul ( Walbrook) and Bella Madden (Diana Wynward) move to 12 Pimlico in London, the address where a murder took place years earlier. Paul is in fact the murderer, only returning to the scene of the crime to search for missing rubies. He also plans to drive his wife mad and having her institutionalized to give him more time to rummage. A retired detective meanwhile keeps close watch over the strange things happening at number "12."
Gaslight lacks the lush production values of MGM set design and while it shines in some moments, it displays ragged ones in others. Wynward has some strong scenes but is inconsistent in others, Kathleen Cordell, a touch over the top as the maid, Frank Pettingell a more believable, less dashing fit as the sleuth than the American Cotton, even if does cancel the romantic interest in the process.
To do this original any justice and appreciated on its own it is best seen before the 44. In its defense it offers a more rational reason for a move to the townhouse as well as some rousing British dance hall entertainment featuring the Damora Ballet doing French Can-Can. A decent original to the classic re-make.
Paul ( Walbrook) and Bella Madden (Diana Wynward) move to 12 Pimlico in London, the address where a murder took place years earlier. Paul is in fact the murderer, only returning to the scene of the crime to search for missing rubies. He also plans to drive his wife mad and having her institutionalized to give him more time to rummage. A retired detective meanwhile keeps close watch over the strange things happening at number "12."
Gaslight lacks the lush production values of MGM set design and while it shines in some moments, it displays ragged ones in others. Wynward has some strong scenes but is inconsistent in others, Kathleen Cordell, a touch over the top as the maid, Frank Pettingell a more believable, less dashing fit as the sleuth than the American Cotton, even if does cancel the romantic interest in the process.
To do this original any justice and appreciated on its own it is best seen before the 44. In its defense it offers a more rational reason for a move to the townhouse as well as some rousing British dance hall entertainment featuring the Damora Ballet doing French Can-Can. A decent original to the classic re-make.