This story has more twists and turns than a second-rate soap opera.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

The acting in this movie is really good.

Story: It's very simple but honestly that is fine.

This film centers around three people. We have retired constable Rough who is an affable and brilliant middle-aged gentleman haunted by one of his career's unsolved cases - the murder of Alice Barlow. And we have the relatively recently married and well-to-do Mallens, who have just moved into the house next door to the one where Mrs. Barlow was killed. Bella Mallen (Diana Wynyard) turns in a wonderful and sympathetic performance as a woman who is being driven to her wit's end by her obsessive, controlling and deceitful husband Paul Mallen (Anton Walbrook). The very first time Rough sees Paul, he becomes convinced that Paul is not who he says he is, and as the story unfolds, Paul Mallen's identity, his secrets and his intentions charge the film with powerful psychological distress and a Hitchcockian feeling of suspense. The behavior of Mrs. Mallens' gas light is the very clever device that eventually allows the film's central mystery to begin to unravel - hopefully before it is too late This film exhibits some truly startlingly well-created and detailed Victorian interiors, relatively typical but quite competent camera-work for its time, very strong performances - especially by Wynyard and Frank Pettingill (Rough) and a solid theatrical script. Gas Light was adapted from Patrick Hamilton's stage play of the same name, and it definitely retains some of the feel of a theatrical set piece. Well-directed by the talented if not prolific Thorold Dickinson (Queen of Spades, Secret People), I would recommend this over the more well-known and soapier American remake of 1944.

I think it's one of the best British films ever made, certainly during the Golden Age, and one that Hollywood tried to suppress to give their effort made a few years later a clear field. I saw this the first time it was ever on UK TV – an extant print had been discovered, cleaned up and finally shown on BBC2 the evening of 27th July 1978. I was expectant, mesmerised, elated, and in fact completely bowled over by it. It finished late - my girlfriend fell asleep and I had to keep shushing her snores; so I quickly realised it's not everyone's cup of tea!Melodrama has old lady brutally murdered and robbed for her jewellery; many years later newly-weds move into the still vacant gas-lit house. Anton Walbrook is a suitably sinister sibilantly speaking husband, Diana Wynyard is perfect as scatty housewife apparently being driven out of her wits, and ex bobby Frank Pettingell admirable in his British bulldoggedness. But the beauty of the British film is that it clearly shows who was being driven mad, the US version (whilst still a good film) ladled on so much gloss and misplaced romance the whole point was lost. The attention to period detail and decor was fantastic - just look at the ornate clutter in their sitting room - that and most of the other sets all lovingly recreating a ostensibly genuine Victorian English atmosphere. And all leading up to the most chilling climax of any film! That fraught minute with Wynyard standing over Walbrook with the knife is a piece of Art in its own right, it's so perfectly nuanced in sound and vision with the irony screaming out. Although despite that I could never understand why Walbrook looked just for a second like he was slipping away from being stabbed, almost as if an alternate ending was considered.One of my favourite films; if you're interested try to make sure you watch a decent print as I've seen some grotty copies over the years - it's worth a whole bagful of roobees.

This original 1940 version of Gaslight is occasionally shown on U.K. TV - I watched it this time as part of Film 4's Movies for Life series, though shown about lunchtime, so many would have missed it.Which is a pity. It's got tons of atmosphere, even more hiss and crackles and the fog clings to everything like a favourite old overcoat. Rather than the sheen and shine of the always gleaming Ingrid Bergman in the 1944 re-make, this looks and feels like the creepy horror film that it is.But remake they obviously did and I, for one, would not say either is better than the other. They're both very similar but also very different and each has virtues the other doesn't. The obvious star appeal of the later one is the real draw, along with the polish of George Cukor's direction, but that somehow detracts from the ordinariness of the original. There it's the story and the surroundings plus the real atmosphere that are the stars.It must have seemed like strange fare for its time, though as we don't usually associate early WW2 cinema-goers having a liking for such dark stuff.I have always enjoyed the story; how under posh middle class Pimlico town-house roofs lie madness, murder and sadistic mental torture, though rather more subtly done than my list might suggest.Others have written longer reviews with every plot twist, so I'm purposefully keeping my short. I would say that if you've seen and enjoyed the 1944 one, keep an eye out for this one, whether on TV (get your recording device ready) or any other method, as it's certain you'll love this one too.My five stars are a little generous, but Gaslight mk 1 is definitely an un-flaunted and underrated - and overshadowed classic.

There were plenty of clever films made in the thirties and forties.This is not one of them.It begins with the murder of an elderly lady, followed by the ram-sacking of her home.It fast forwards to many years later, with a very dull couple. The husband is played by Anton Walbrook, who is best known for his great role as the wise religious community leader in THE 49TH Parallel. Here, he is a dull, vicious clod, bullying his wife. It is a thankless role, and Anton does little with it.This is a snail's pace movie. Personally, I think the modern "arcade game look" is the worst possible cinema. But this slow pace comes in second. It will be tough for you not to fast forward. Only the most sedated people will be able to sit through it without trips to the kitchen. It is dull and plodding.The payoff is okay, for those who stick to the end. The minor characters help it out a bit. Still, watching this movie is an ordeal.