Gaslight

The formulas for the perfect cinematic crime are almost inexhaustible. An excellent noir whose greatest strength and quality lies primarily in the fact that the director, together with the actors, manage to keep the formal side of the story at the same high (if not higher) level as the content. It's really disgusting when a guy depresses and mentally disintegrates his wife like that, but it's so beautiful and pleasant to watch it even after all these years, during which the standards for a suspenseful thriller have changed dramatically... It's a shame that the film only emerges from the shadow of the theatre play when the hazy streets of nighttime London are on the agenda, and that the script saves almost all of its build-up until the last half-hour. Otherwise, Ingrid Bergman plays the tormented and schizophrenic wife very well, of course, but her demonic husband Charles Boyer probably deserved the Oscar a bit more. 80% (30/01/2014)

This is one of the many films Hedy Lamarr rejected and Ingrid Bergman grew up on (iconically complementary to Casablanca). Well, why not? The then-fashionable genre seemed very bland on paper and could only really be elevated by well-chosen acting creations. So what is left of Gaslight today? A typical Hollywood product, with a Frenchman and a Swede acting out a successful thriller based on a play in a London setting, which only occasionally upsets the system of happy accidents, glycerine tears, and a rushed denouement. Of course, on the big screen, it's enjoyable to watch even the slightest movement on the face of the perfect directive manipulator Gregory Anton, who is actually doing all this for his wife in Prague. (16/03/2012)

This film has an incredibly good atmosphere that progresses from something very gradual, light, almost with a comedic touch, to something that turns into a serious drama where you don't really know what the truth is. It’s very well acted, especially in the male roles, but Ingrid never disappoints, that's for sure. (19/09/2014)

These old black and white classics have such enormous charm. The story of a woman who’s so consistently mentally tormented by her husband who wants to take away her sanity has a clever script (I'd love to see a remake by Fincher), the cinematography is fantastic with light and shadows, Chareles Boyer is a villain you'll honestly hate, but the biggest trump card that everyone here praises so much, Ingrid Bergman, was the only weakness for me. Her performance was sometimes too theatrical, sometimes I didn't believe her, sometimes her emotions gave me a pleasant chill; an inconsistent performance that I probably wouldn't reward with an Oscar, but the film itself is excellent. (09/01/2017)