...the 1944 rendition is content to linger over details of Victorian atmosphere, plush set designs, and spooky footsteps and noises.
The supporting cast members are stronger in this Hollywood version, certainly. The snoopy investigator, now called Brian Cameron, is played to distinction by Joseph Cotten; Nancy, the saucy parlor maid, is played by newcomer Angela Lansbury; and Elizabeth, the cook, is played by Barbara Everest. A nosy neighbor, Miss Thwaites (Dame May Whitty), also puts in several appearances, often to eccentric comic effect.
Interestingly, this Hollywood version is less explicit and less graphic about its sex and violence than its British counterpart, possibly an example of differing censorship values in the two countries. Although the 1940 edition rushes to tell its story, the 1944 rendition is content to linger over details of Victorian atmosphere, plush set designs, and spooky footsteps and noises. It's the better for it. The 1944 "Gaslight" is the more expensive and the more elegant production, with an even creepier tone than the British version.
Both films come to a climax much too soon, spoiling some of the story's mystery, but this is undoubtedly a condition of the original play. The two films provide fascinating comparisons and contrasts, and the storytelling in both versions holds up well.
Video:
The 1940 edition was cobbled together from existing copies of the print, and as a result some of the film is very good and some of it is more worn and ragged. The opening credits, for instance, contain a multitude of age specks and spots; then, as the film gets underway, the disturbances of age come and go, the black-and-white image varying from crisp and clear to fuzzy and light.
The 1944 classic, however, appears to have been transferred from an exceptionally clean print, as it shows few or no signs of wear, age, abuse, or neglect. The overall black-and-white picture quality is only slightly soft and faded, but not to any detrimental degree. A very fine grain is apparent, probably a condition of the original film stock. No complaints here, and my rating below is for this 1944 version.
Audio:
The audio in both movies is reproduced via Dolby Digital 1.0 monaural, but it's again the 1944 version that surpasses its earlier counterpart technically, particularly for its quietness. Its second important asset, however, is its realistic tonal balance, neither too bright nor too dull. The mono sound is understandably limited in frequency and dynamic range, but it does an outstanding job replicating human voices. The 1940 sound, on the other hand, is somewhat pinched and hard and accompanied by a clearly audible and sometimes distracting background noise.
Extras:
Besides having two versions of the same movie on one disc, the most important bonus item that's afforded is a thirteen-minute reminiscence by Pia Lindstrom about her mother, Ingrid Bergman. Titled "Reflections on Gaslight," it also contains comments on the 1944 film by Angela Lansbury, who made her screen debut as Nancy, the maid. In addition, the extras include about a minute and a half of the 1944 Academy Award ceremonies, with Ms. Bergman receiving her Oscar for Best Actress, and a theatrical trailer for the 1944 film. Twenty-five scene selections are provided for the 1940 movie and thirty-three scenes for the 1944 edition. English is the only spoken language on the 1940 version, but English and French are offered for the 1944 movie. English, French, and Spanish subtitles are available for both versions.
Parting Thoughts:
I suppose most people would be buying this disc for the 1944 classic account of "Gaslight," but having the 1940 version for comparison is an advantage not to be overlooked. The two films are different enough from one another to offer their own unique pleasures. But from my personal standpoint, it's Ms. Bergman who stands out, without whom I'm sure I would not have been half as interested in seeing either film again.
Interestingly, this Hollywood version is less explicit and less graphic about its sex and violence than its British counterpart, possibly an example of differing censorship values in the two countries. Although the 1940 edition rushes to tell its story, the 1944 rendition is content to linger over details of Victorian atmosphere, plush set designs, and spooky footsteps and noises. It's the better for it. The 1944 "Gaslight" is the more expensive and the more elegant production, with an even creepier tone than the British version.
Both films come to a climax much too soon, spoiling some of the story's mystery, but this is undoubtedly a condition of the original play. The two films provide fascinating comparisons and contrasts, and the storytelling in both versions holds up well.
Video:
The 1940 edition was cobbled together from existing copies of the print, and as a result some of the film is very good and some of it is more worn and ragged. The opening credits, for instance, contain a multitude of age specks and spots; then, as the film gets underway, the disturbances of age come and go, the black-and-white image varying from crisp and clear to fuzzy and light.
The 1944 classic, however, appears to have been transferred from an exceptionally clean print, as it shows few or no signs of wear, age, abuse, or neglect. The overall black-and-white picture quality is only slightly soft and faded, but not to any detrimental degree. A very fine grain is apparent, probably a condition of the original film stock. No complaints here, and my rating below is for this 1944 version.
Audio:
The audio in both movies is reproduced via Dolby Digital 1.0 monaural, but it's again the 1944 version that surpasses its earlier counterpart technically, particularly for its quietness. Its second important asset, however, is its realistic tonal balance, neither too bright nor too dull. The mono sound is understandably limited in frequency and dynamic range, but it does an outstanding job replicating human voices. The 1940 sound, on the other hand, is somewhat pinched and hard and accompanied by a clearly audible and sometimes distracting background noise.
Extras:
Besides having two versions of the same movie on one disc, the most important bonus item that's afforded is a thirteen-minute reminiscence by Pia Lindstrom about her mother, Ingrid Bergman. Titled "Reflections on Gaslight," it also contains comments on the 1944 film by Angela Lansbury, who made her screen debut as Nancy, the maid. In addition, the extras include about a minute and a half of the 1944 Academy Award ceremonies, with Ms. Bergman receiving her Oscar for Best Actress, and a theatrical trailer for the 1944 film. Twenty-five scene selections are provided for the 1940 movie and thirty-three scenes for the 1944 edition. English is the only spoken language on the 1940 version, but English and French are offered for the 1944 movie. English, French, and Spanish subtitles are available for both versions.
Parting Thoughts:
I suppose most people would be buying this disc for the 1944 classic account of "Gaslight," but having the 1940 version for comparison is an advantage not to be overlooked. The two films are different enough from one another to offer their own unique pleasures. But from my personal standpoint, it's Ms. Bergman who stands out, without whom I'm sure I would not have been half as interested in seeing either film again.
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