A lost black pearl, better than Mayer's sugar-coated 1944 version. This British psychological thriller is truly a forgotten masterpiece due to the machinations of MGM's Louis B. Mayer.
In one of her finest roles, Wynyard is a wealthy patrician lady who marries the urbane but calculating Walbrook. They move into an 1880 mansion, her ancestral London home, where Cordell is the ever-present brazen maid. Before long, Wynard notices the gaslight in her rooms flickers downward nightly
and comes to believe that this is a hallucination. Meanwhile, through clever, subtle measures, Walbrook slowly drives her to the brink of insanity, convincing her that she is losing her memory. Pettingell, a kindly and perceptive Scotland Yard detective, meets Wynyard socially and begins paying
attention to her and Walbrook--too much attention from the latter's point of view.
Columbia purchased the rights to the film in 1941, intending an American remake with Irene Dunne in the lead. Then MGM bought the property for Hedy Lamarr who unwisely turned it down. When the Ingrid Bergman-Charles Boyer production was shot in 1944, Mayer ordered his minions to track down all the
prints of the original GASLIGHT and destroy them, so it would never compete with his lavish production. Fortunately, prints survived. It's one of the most stylish British films to be made before WWII and one of director Dickinson's most polished works, each scene carefully set up as the tension
mounts brilliantly, frame by frame. Walbrook is magnificent as the arch villain, his extravagant Middle-European acting style bordering on the flamboyant, his dark charm shrouding his evil purposes. leave a comment
