Gaslight (1944)
Directed by George Cukor
A newlywed fears she's going mad when strange things start happening at the family mansion.
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What critics compared Gaslight to
There are echoes of Ingrid Bergman in this performance – not only from Gaslight but from Notorious.
There are parallels here to the classic 1944 film "Gaslight," about a man who bullies and manipulates his wife into thinking that she is going crazy.
Following their doubts, an abused partner eventually stands up to their abuser to the audience’s satisfaction: see 1944’s Gaslight to 2002’s Enough , with many other examples in between and beyond.
Moss plays Cecilia Kass, the abused partner of a controlling tech entrepreneur who is developing advanced optics technology—and apparently watching 1944’s Gaslight on his down time.
No one believes her that her dead, invisible, abusive ex-boyfriend is pulling off the greatest gaslighting job since Charles Boyer in "Gaslight."
…y Luz que agoniza (Gaslight, 1944), en los que la cordura parece derrumbarse entre las paredes de una mansión.
“The Housemaid” is like “Gaslight” meets “Jane Eyre,” with a dash of “Rebecca,” and all the various roles are lightly scrambled, infused with a much sexier, nastier streak than any of those mannered mindbenders.
…gleefully gaslighting the title character…
Seyfried juega con esa ambigüedad de forma casi lúdica, evocando cierto cine de suspense clásico donde el exceso emocional era parte del atractivo y no un defecto a corregir.
…mixing plot and character elements from woman-in-peril domestic thrillers like “Gaslight“ and “The Hand That Rocks the Cradle“ with elements of erotic thrillers…
Lovers of classic cinema will notice a certain debt to the plot of Gaslight from 1944 but it's acknowledged when one of the characters uses the term ''gaslighting''.
Instead, he’s billed it as a “Gothic romance” in the vein of Alfred Hitchcock’s Rebecca or George Cukor’s Gaslight.
Killers of the Flower Moon is a three-hander on an epic canvas, a corrosive analysis of America’s colonialist and capitalist excesses as refracted through a marital melodrama in the vein of George Cukor’s Gaslight or Alfred Hitchcock’s Suspicion. As those artists did in those films, Scorsese cultivates a spellbinding air of uncertainty, even though it’s clear from the moment Ernest courts Mollie at his uncle’s insistence that little good will come from their pairing.
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But in addition to Ingrid Bergman in “Gaslight,” one can recall actresses as different as Barbara Stanwyck and Doris Day involved in such claptrap, the former in “Sorry, Wrong Number” and the latter twice, in “Julie” and “Midnight Lace.”
As a terrorized heroine, she doesn't evoke the immediate sympathy of actresses like Ingrid Bergman in "Gaslight," Dorothy McGuire in "The Spiral Staircase," Audrey Hepburn in "Wait Until Dark" or Mia Farrow in "Rosemary's Baby."
"Gaslight" very much feels like a Hitchcockian thriller, even though it isn't (Cukor is a wonderful filmmaker in his own right).
Run also feels a bit like the classic Gaslight , which starred Ingrid Bergman as a person manipulated into believing she is delusional.
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In “Gaslight,” Ingrid Bergman plays Paula, a woman whose husband, Gregory (Charles Boyer), attempts to convince her that she’s insane.
…his paranoia and confusion reach Hitchcockian levels, stirring up memories of films like Gaslight (1944)…
Is she gaslighting him, even if he can’t recall the term or the movie that it’s from?