![]() ![]() But the moment the train arrives at its destination, Gregory appears. When they meet, Paula is trying to take a trip alone to clear her head she wants to figure out if she really wants to marry Gregory. The only person who seems to have honest concern for Paula – at first – is Miss Bessie (Dame May Whitty), an older woman her meets on a train who later becomes her neighbor. ![]() When she feels the walls closing in on her, we feel them too. She’s almost animated- all eyes, face and fluid movement. But as Gregory manipulates Paula, Bergman manipulates the viewer, entrancing us with her magnetic performance. A later scene at a concert where Gregory makes Paula believe he stole her watch – leading her to wail openly in public – is especially difficult to watch. This plot could have easily made it a torturous viewing experience, and there are definitely points where it toes the line between fascinating and pure misery. Throughout the film, we have to watch Gregory manipulate Paula into madness. Charles Boyer plays Gregory like a father figure than a lover, but Paula is too young and inexperienced to know the difference. Gregory finds her first, and takes full advantage of her loneliness and trustworthy nature. Traumatized by her aunt’s unsolved murder, what Paula really needs is a therapist and a good friend. ![]() His charismatic and romantic presence becoming the only light in her life and she allows herself to be consumed by it.Īt first, Bergman plays Paula like a lost girl, highly impressionable and prone to long bouts of melancholy. Restless and frustrated with where her life is going, an older man is a welcome escape. Instead of forging her own path and trying to truly find herself, she has been trying to emulate her aunt with a middling singing career. She’s been alone since the death of her aunt at the beginning the film, and has no parental figure to guide her. A young woman has fallen in love with an older man and he wants to marry her after only two weeks. Ingrid Bergman is key to that.īy the 20-minute mark of Gaslight, the plot becomes obvious. The film took me on an emotional rollercoaster, unlike any thriller I had seen before. Instead I focused all my note taking on how every individual scene made me feel. I didn’t write down basic information like names and locations. When I did, a flow of observations descended from my fingertips. I was forced to pause the film entirely to take notes. At times when I wanted to look down and jot a note, I found that Bergman’s gaze wouldn’t let me. You can’t simply watch Gaslight, it controls your viewing experience entirely. Throughout the film, she has complete control of your eyes. Featured Publication Categories Categories atomic bomb Awards baseball Book Reformatting Project Braille CCD censored newspaper article censorship Center for East Asian Studies Charles Kades children children's children's books children's magazines comic books constitution constitution series crossing the divide digital collection digitization document education education books exhibition featured education books featured item of the month from the exhibition featured labor related items featured magazines featured movie-related materials featured movie related items featured oral histories featured posters and wall newspapers gender gift collection Gordon Prange Hiroshima kabuki kamishibai Korean labor labor history literature magazines manga Maryland Day Mayo medicine movie music Nagasaki Nathan and Jeanette Miller Center for Historical Studies national comic book day National Diet Library news agency photographs newspapers Olympics On this day in.In 1944’s Gaslight, Ingrid Bergman fills the screen entirely. ![]()
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