Mary Poppins Returns
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All Critics (28)
| Top Critics (5)
| Fresh (24)
| Rotten (4)
| DVD (4)
Direction by George Cukor is ever a display of fine craftsmanship. He utilizes small mosaics of sharp characterization in building to his climax and works in each facet faultlessly. This is the job for which Cukor admirers have been waiting.
This 1944 film is one of the few psychological thrillers that is genuinely psychological, depending on subtle clues -- a gesture, an intonation -- to thought and character.
Patrick Hamilton's London stage melodrama, is given an exciting screen treatment by Arthur Hornblow Jr's excellent production starring Charles Boyer, Ingrid Bergman and Joseph Cotten.
Prepare yourselves rather for a lengthy and restless stretch on tenterhooks.
Beautifully filmed in a gloomy, atmospheric black-and-white, Gaslight exhibits all the classic visual elements of '40s film noir.
It's a superbly creepy thriller, with universal themes...An essential movie in anyone's canon.
Gaslight serves as a fascinating depiction of psychological torture. What strikes me about it the most is the way patriarchy and male dominance play out in the narrative.
We rely on the actors and the script to convey the mood, and director George Cukor matched no less a figure than Alfred Hitchcock with the results.
It's a bit dated now, but still has much to offer, notably George Cukor's intelligent direction.
George Cukor conjures up an oppressive atmosphere... But it's not quite enough to cover up the script's yawning gaps in logic.
Boyer nearly steals the picture, aided and abetted by the stunning debut of Angela Lansbury as a hardbitten servant -- only 18, she grabbed the role and chewed it to bits.
Overwrought to contemporary eyes, perhaps, but still troubling and, in its own way, powerful.
Bergman won an Oscar for her role but it was Boyer who should have won many for his meticulous performance as the mysterious husband (he was nominated, though) in this taut thriller whose tension is increased by an exemplary art direction and mise-en-scène.
Remakes are often (and righteously) seen as the blight of the film industry but that is not the case here in this elegant reworking of a lean and muscular Brit classic. Hollywood's magic is in hard evidence with better writing, camera work, lighting and sound than the original. And then there is the cast. A woman in a fashionable London townhouse, seemingly alone, cut off, in doubt of her own sanity, wonders if she's ruined what once seemed a happy marriage. Bergman won an Oscar, but everyone brings home the bacon here.
A very Hitchcockian thriller, if not close to the quality of the best movies by Hitchcock or his imitators. The plot (involving a woman who slowly seems to be losing her grip on reality...or is she?) probably was much more effective in 1944, now this kind of thing has been done so many times that it seems painfully transparent from the very beginning. Gaslight isn't a bad movie, but it lacks the timeless quality that makes so many classics as good today (or even better) than they were when they were made.
Kudos to Ingrid Bergman, though, who is mesmerizing in the last half of the movie. She's truly one of the greatest actresses of all time.
Similar to other suspense movies of the forties, but still a pretty powerful story. I really like this movie.
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