GASLIGHT (1944)

Boyer and Bergman

GASLIGHT (1944). Director: George Cukor.

Paula Alquist (Ingrid Bergman) lived in a house in London with her aunt, a famous opera singer who was strangled to death. Years later she comes back to that house with her new husband, Gregory Anton (Charles Boyer). The autocratic Anton berates Paula for her bad memory and for losing things and inexplicably taking pictures from the wall and hiding them. Is Paula going crazy or is there something more sinister going on? Gaslight doesn't make any attempt to disguise the identity of the bad guy in this, but the film is suspenseful in spite of it. Bergman won her well-deserved first Oscar for her portrayal of the confused Paula, and Boyer is equally expert and fascinating. In her first film role, Angela Lansbury [A Life at Stake] scores as the saucy, borderline rude maid, Nancy, and Dame May Whitty is charming as the nosy old biddy, Miss Thwaites. Joseph Cotten offers another effective portrait as a policeman who once met Paula's aunt and is struck by the resemblance; against orders, he takes a new interest in the case. Barbara Everest is also notable as the cook, Elizabeth. The best scene in the film is when Paula nearly has a nervous breakdown at a piano concert. Although Cukor was not a suspense specialist along the lines of Hitchcock, he still manages to craft a nifty thriller, as he did with A Woman's Face. Bergman and Boyer re-teamed for much less felicitous results in Arch of Triumph, as the chemistry just wasn't right for those particular characterizations. At one point Paula shows her husband a glove worn by her aunt and signed by no less than Charles Gounod, in whose Romeo and Juliet she had performed -- what a memento! This is far superior to the 1940 British version of the story.

Verdict: A mesmerizing performance by a resplendent Bergman and fine support from Boyer, Cotten, and Lansbury.  ***1/2. 

FLESH AND FANTASY

Who is that masked lady? 

FLESH AND FANTASY (1943). Director: Julien Duvivier.

This is a collection of three macabre stories with a framing device of one man relating the tales to another. The first story deals with a supposedly homely woman (Betty Field) who is given a mask (see photo) that makes her appear beautiful to everyone and that she must return by midnight. In the second story, Edward G. Robinson is given a prediction, which he initially scoffs at, that he will commit murder. The second story runs into the third, which has a high-wire acrobat (Charles Boyer) having premonitions of disaster when he meets a mysterious woman (Barbara Stanwyck) whom he has seen in a recurring dream in which he falls to his death; meanwhile the lady has secrets of her own. In a cast of talented actors, Thomas Mitchell [Theodora Goes Wild] and Dame May Whitty [The Sign of the Ram] almost walk off with the picture and it's quite interesting to see Boyer and Stanwyck together. Alexander Tasman contributed some quirky theme music. Duvivier also directed Lydia.

Verdict: Perhaps less here than meets the eye, but it's well-acted for the most part and entertaining. ***.

SUSPICION

Lina (Joan Fontaine) suspects her husband wants to kill her

SUSPICION (1941). Director: Alfred Hitchcock.

Lonely heiress Lina (Joan Fontaine) meets the charming mountebank Johnnie (Cary Grant) and finally falls in love. The two get married and move into a huge house that Johnnie can clearly not afford. Lina discovers that her husband has an aversion to work of any kind, and an addiction to gambling, even selling antique chairs given to her by her father as a wedding present, for money. A friend named Beaky (Nigel Bruce) shows up and lets slip further information that unsettles the discomfited wife. After Lina fears that her husband might be involved in a death that occurred in Paris, she then suspects that he is planning to do away with her. But is she right -- or this time does two and two add up to five? Suspicion is a smooth, beautifully photographed [Harry Stradling] and handsomely produced thriller that features an outstanding performance from Fontaine and also boasts Grant at his best, never quite giving away whether he's a total rotter or not. Other notable players include Dame May Whitty and Sir Cedric Hardwicke as Lina's parents, and Leo. G. Carroll as Johnnie's cousin, from whom he embezzles. It's been said that the ending is tacked on and a bit of a cop-out, but it still works. Unusual scoring by Franz Waxman.

Verdict: Another smooth suspenser from the Master. ***1/2.

MY NAME IS JULIA ROSS

MY NAME IS JULIA ROSS (1945). Director: Joseph H. Lewis. 

Julia Ross (Nina Foch), who is three weeks behind on her rent, takes a job as a secretary to old Mrs. Hughes (Dame May Whitty) and her son Ralph (George Macready) at a house in London, then wakes up in a manor by the sea in Cornwall and is told that her name is Marian and she is supposedly married to Ralph! Maddeningly, everyone in the household and indeed the town either goes along with -- or actually believes -- the deception. The more Julia protests, the more people think she's crazy. While the plot may not stand up to too close scrutiny, this is a well-made and well-acted suspenser. Whitty gives a fine portrait of understated evil. Joy Harington is vivid in the role of Bertha, the bitter maid in the boarding house where Julia owes rent. Roland Varno makes an acceptable romantic lead, although he has little to do in the film. Very well photographed by Burnett Guffey. Remade as Dead of Winter. 

Verdict: Nifty B thriller with a very satisfying conclusion and a sheen that belies its budget. ***.

THE SIGN OF THE RAM

THE SIGN OF THE RAM (1948). Director: John Sturges.

In Cornwall Leah St. Aubyn (Susan Peters, pictured) became wheelchair-bound after a swimming accident in which she saved her stepchildren but was bashed against some rocks. Now she has a pathological fear of being abandoned, and those feelings are exacerbated by the arrival of a pretty secretary, Sherida (Phyllis Thaxter), whom she's afraid might stimulate the interest of her husband, Mallory (an unlikely Alexander Knox). Eventually Leah resorts to blatant and cruel falsehoods to manipulate the relationships of those around her (though it's a touch disingenuous that she gets blamed for one disturbed character's poisoning of another). Susan Peters, who was actually in a wheelchair after a freak hunting accident -- this was both her come back and her final film -- does her best and has her moments, but her performance is a little too obvious and director Sturges gives her no help at all. Ron Randell (the handsome doctor), Dame May Whitty (a busybody neighbor) and Peggy Ann Garner (one of the stepchildren) are also in the cast. Despite some interesting aspects, and partly because of its dimestore psychology, this is an unconvincing potboiler from start to finish. The tragic story of Peters' real life [dead at thirty-one!] would have made a more engrossing drama to be sure. The title refers to Leah's astrological sign.

Verdict: Watch Queen Bee with Joan Crawford instead. *1/2.

NIGHT MUST FALL (1932)

NIGHT MUST FALL (1937). Director: Richard Thorpe.

This first film version of Emlym Williams' play certainly holds the attention and has a very interesting story, but it requires the genius of a Hitchcock to make it really come alive and the pedestrian director Richard Thorpe was never on that level. Robert Montgomery is generally excellent as Danny, who enters the household of the prickly, unlikable old lady (Dame May Whitty) when he becomes romantically entangled with one of her housemaids. Danny is intelligent enough to know exactly how to play the woman, but he can't quite fool the poor relation (Rosalind Russell) who also lives in the house and works for the old woman. Unfortunately, Russell isn't entirely immune to Danny's charm, and slowly begins to fall for him even as she becomes more convinced that he's responsible for a gruesome murder in the neighborhood. Russell isn't really up to the task of exploring all the psychological ramifications of her character, but Whitty is simply superb as the old woman. While most of the film isn't remotely scary and has little atmosphere, the scene when she's left alone in the house is quite eerie and well done, and her subsequent encounter with Montgomery is extremely effective and well-acted. What a shame that this assignment wasn't given to the Master of Suspense – Hitch would have turned this into a nail-biting and psychologically penetrating classic.

Verdict: No classic, but has its moments. **1/2.