In Victorian London, an old woman is murdered at a house in Plimco Square and her house is ransacked, some very valuable rubies being reported missing afterward. The house is not occupied again until years later, by a man and his wife and two woman servants. But the supposedly religious husband is controlling of his wife and suggests she is mentally ill, deliberately moving objects in their home and suggesting she has been moving them in a fit of madness. He also flirts with the younger servant. Rough, a former policeman now working as a groom in the area, is suspicious and gets involved in their lives. What exactly is going on? The gaslight in question refers to suspicious dimming of the house's gas room lights at certain times to suggest goings-on at the house. Though the plot is predictable, the ending makes up for it-not because of its being a surprise but the way it is told, and how the characters handle matters when the truth is revealed.

aka The Murder in Thornton Square (1940) or Angel StreetDirected by Thorold Dickinson, with a screenplay by A.R. Rawlinson and Bridget Boland that was based on the play by Patrick Hamilton, this above average British thriller is tighter (half an hour shorter) than the Academy Award nominated American remake which earned Ingrid Bergman her first Oscar, four years later.Anton Walbrook plays the role of the mysterious Paul Mallen, who's attempting to drive his wife Bella (Diana Wynyard, in the Bergman role) crazy for reasons of his own. Frank Pettingell plays a retired policeman B.G. Rough, who now takes care of horses (in the day when carriages were the primary transportation in the city), that recognizes Mr. Mallen as Louis Bauer, the nephew of Alice Barlow (Marie Wright), who had been murdered in her home many years earlier, a crime that was never solved.Walbrook is every bit as good as, if not better than, Charles Boyer in the American version, Wynyard is merely adequate, and Pettingell can't be compared to Joseph Cotten because the latter's role was played as a potential love interest for Bella (whereas Pettingell's was not).Much different than the aforementioned later production, this film's story begins with Barlow's murder; the culprit (whose face is not shown) ransacks the townhouse trying to find (what we come to find out were) her 20,000 pounds worth of rubies. Years later, the home is reopened for the Mallens, who move in after workmen and their servants - parlor maid Nancy (Cathleen Cordell) and cook Elizabeth (Minnie Rayner) - have prepared it. Mr. Mallen proceeds in hiding various objects (a painting, her broach) from around the house and then accusing his wife Bella of doing it. Additionally, each evening when her husband goes out alone, she witnesses the dimming of her bedroom's gas lanterns and hears strange sounds above her room. Mallen tells Bella that she's imagining things and encourages her belief that she's going insane like a distant relative of hers did long ago. He also intercepts her mail, and later keeps Bella's cousin Vincent Ullswater (Robert Newton) from seeing her.But Rough is not so easily put off, he smells a rat and pursues the case as Mallen openly pursues an extramarital relationship with Nancy. Jimmy Hanley plays the ex-policeman's assistant of sorts named Cobb, who had been dating Nancy himself. Rough figures out what's going on and, while her husband is out with the hired help, informs Mrs. Mallen of what he's learned - that her husband killed his aunt and has returned to the scene of the crime to search for the valuable jewels on the upper floors each night. When Mallen comes home prematurely, a confrontation and a struggle ensues but Rough, with help from Cobb, gains the upper hand and has (now that his real name has been revealed) Louis Bauer tied up.I skipped a step regarding the rubies because it, and what happens next while Bella is left alone with her 'husband', differs from the more well known remake ... and I'd hate to spoil it for you;-)

This is the original movie of this name. Most people are familiar with the 1944 American Version starring Ingrid Bergman, Charles Boyer & the screen debut of Angela Lansbury.Released in 1940 starring Anton Walbrook & Diane Wynyard this was as classic a tale then as it is now. I prefer it slightly over the American version as the storyline is a darker more abusive affair than America's. By the way Walbrook & Wynyard were big stars then & the acting is best in the British version.The story begins with a cruel & foul murder of an old woman knitting in her home. Young love causes a new bride to bring the husband she loves so dearly back to the house her murdered aunt had left to her years ago. No one had been willing to rent the place because of the evil crime. It stood empty & decaying for years despite it's location in Covent Gardens a very desirable location in London. The police had always been suspicious of the extensive damage done to the house & furnishings during the night of the murder & thought the old ladies rubies had disappeared with the killer.In this show it's all about the relationship of wife, husband, maid & the gems. Not to mention the old retired detective who remembered the case from back when & thought he recognized the wife's husband. A 5 star tale & well worth buying if you like your characters dark in a murder story. The disc I got had this 1940 version on 1 side & the 1944 American version on the other. Two worlds- One price. Enjoy!

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.