So iconic is 'Gaslight' that it resulted in the emergence, in the English language, of an entirely new expression - "gaslighting" - which refers to the manipulation of one person by another, into doubting her, or his, own sanity.
The basic plot premise of 'Gaslight', and its validity may, clinically speaking, be, perhaps, questionable, involving, as it does, the systematic psychological exploitation of Paula (faultlessly played by Ingrid Bergman in what may, arguably, be her finest screen performance) by her husband Gregory (Charles Boyer), into believing that she is insane.
It hardly matters.
The credibility of the premise, as it ultimately unfolds, tellingly, on the screen, is attributable, to a large extent, to the absolutely spine-chilling manner in which Boyer has portrayed the character. It remains one of the greatest depictions of villainy I have had the fortune to witness, and Boyer, as Gregory, deserves to be ranked as one of the greatest screen villains ever. So internalized, indeed, is Boyer's act that it necessarily, required, as its foil, a performance of equally sustained intensity, by a matching performer, and it is hard to imagine anyone but Bergman essaying Paula. Bergman's role is especially difficult, and is played, by that consummate performer, as required by the script, in several layers, and at various levels. From star-struck adoration, to progressive mental debilitation, to steely self-determination in the concluding moments of the film, Bergman's act spans the entire emotional spectrum, without missing a single beat.
Between them, Boyer and Bergman create an unforgettable cinematic experience, rewarding and cathartic in equal measure. THIS is superlative film noir, which, ever so often in lesser films, tends to falter towards the end. 'Gaslight', however, remains as rewarding, in its climactic moments, during which Joseph Cotten provides much-awaited relief from the palpable tension that pervades the film. We know, eventually, how the story has to end, but, in its telling, we remain transfixed.
Undeniably a Cukor masterpiece, and deserving of every one of the ten stars that I have chosen to award.
The basic plot premise of 'Gaslight', and its validity may, clinically speaking, be, perhaps, questionable, involving, as it does, the systematic psychological exploitation of Paula (faultlessly played by Ingrid Bergman in what may, arguably, be her finest screen performance) by her husband Gregory (Charles Boyer), into believing that she is insane.
It hardly matters.
The credibility of the premise, as it ultimately unfolds, tellingly, on the screen, is attributable, to a large extent, to the absolutely spine-chilling manner in which Boyer has portrayed the character. It remains one of the greatest depictions of villainy I have had the fortune to witness, and Boyer, as Gregory, deserves to be ranked as one of the greatest screen villains ever. So internalized, indeed, is Boyer's act that it necessarily, required, as its foil, a performance of equally sustained intensity, by a matching performer, and it is hard to imagine anyone but Bergman essaying Paula. Bergman's role is especially difficult, and is played, by that consummate performer, as required by the script, in several layers, and at various levels. From star-struck adoration, to progressive mental debilitation, to steely self-determination in the concluding moments of the film, Bergman's act spans the entire emotional spectrum, without missing a single beat.
Between them, Boyer and Bergman create an unforgettable cinematic experience, rewarding and cathartic in equal measure. THIS is superlative film noir, which, ever so often in lesser films, tends to falter towards the end. 'Gaslight', however, remains as rewarding, in its climactic moments, during which Joseph Cotten provides much-awaited relief from the palpable tension that pervades the film. We know, eventually, how the story has to end, but, in its telling, we remain transfixed.
Undeniably a Cukor masterpiece, and deserving of every one of the ten stars that I have chosen to award.
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