In the real world, the household becomes a closed system, where the wife is cut off from any possible reality check on the part of friends and family who might be able to halt her disintegration she is made to believe that everything that happens is her fault she is offered little moments of affection and reward that are just as cruelly withdrawn, in a manner designed to make her feel that the blame for the loss is her own. If this seems an unlikely premise, please keep in mind that much of what occurs here presents a genuinely sophisticated understanding of the dynamic between some emotionally abusive husbands and their terrorized wives. It may not be our all-time record – that would be two POSEIDON ADVENTURE movies made a year apart –but it’s close.īoth films are based on the 1938 play set in the Victorian era about the cad of a husband who, to keep his wife from realizing that he’s a con man searching the attic of their London home for priceless jewels, sets about deliberately driving her insane – or, more accurately, convincing her and the world that she is insane, which pretty much amounts to the same thing. Still, four years is an unusually narrow gap. The movies under discussion this time out, made only four years apart, may seem an extreme class, but a couple of the Musketeer movies were that adjacent, and the Falcon movies were almost as much so. We’ve already covered the three versions of THE MALTESE FALCON made within ten years, the last of which was the only great one and, only slightly less dramatic, three versions of THE THREE MUSKETEERS made within thirteen years, of which only the last one can be legitimately argued to have gotten the story anywhere close to right. This also serves as eloquent argument against the premise that remakes are coming closer together, today, than they ever have before.
So here we have yet another stake through the heart of the oft-repeated premise that “Remakes Always Suck.” Starring Charles Boyer, Ingrid Bergman, Joseph Cotten, Angela Lansbury. Screenplay by John Van Druten, Walter Reisch, John R. Starring Anton Walbrook and Diana Wyngard. Rawlinson and Bridget Boland, from the play by Patrick Hamilton. Gaslight aka Angel Street, The Murder in Thorton Street, A Strange Case Of Murder (1940). Marshall Ernest Borgnine Fargo Father of the Bride Flight Of the Phoenix Frankenstein Gus van Sant Helena Bonham Carter Henry Fonda Horror House of Wax Ian Holm Index Jack Lemmon Jack Nicholson James Bond James Stewart James Whale Jaws John Cleese John Wayne Kenneth Branagh Laurel and Hardy Liam Neeson Lord Of the Rings Mae Clark Martin Short Mary Shelley Movies Night Of the Living dead Peter Cushing Peter Lorre Psycho Remakes Robert De Niro Roddy McDowall Russell Crowe Science Fiction Serpico Star Trek Star Wars Steve Martin The Godfather The Maltese Falcon The Poseidon Adventure The Three Musketeers Thriller Tim Burton Tom Hulce Toshiro Mifune Vincent price Wages of Fear Westerns William Friedkin Woody Allen Zero Hour Tag Cloud! Air Force One Airplane Akira Kurosawa Alfred Hitchcock Angela Lansbury Anthony Perkins Avatar Boris Karloff Buster Keaton Cary Grant Charles Laughton Christopher Lee Coen Brothers Comedy Daniel Craig Dan O'Bannon designated Asshole Disaster Dog Day AFternoon E.G.We love it and are thrilled to talk about it on the show this week. It’s an incredible film that people need to see (really, the 1940 version needs to be seen as well).
And we look at the gorgeous and noirish cinematography here and talk about how it lends to the overall tone of the film. We chat about Cukor and his working relationship with the women in his films. We look at Bergman paired with Charles Boyer and Joseph Cotten – not to mention Angela Lansbury in her screen debut – and what they bring to the table. We discuss the idea of gaslighting and why it makes for such a successful story here. We talk about this film and the 1940 version directed by Thorold Dickinson and how MGM almost gaslit that film out of existence.
#Angela lansbury gaslight series#
Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with George Cukor’s 1944 film Gaslight. In the end, she delivered a stellar performance and was very proud of the film and her role in it.
She was nervous about playing such a weak-willed woman. Ingrid Bergman took home her first Oscar for her portrayal of a woman who is psychologically broken down by her husband in Gaslight, but it was a film she was hesitant to star in.
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