Ingrid Bergman’s first Oscar win: 81-year-old psychological noir thriller was a remake of an earlier classic

In a modest Victorian house, a woman begins to doubt the veracity of her memories. The gaslights mysteriously flicker, there are echoing footfalls with no one in sight, and common belongings vanish — as if a ghostly figure is controlling them.

Along with the tension comes the protagonist's descent into profound disbelief and anxiety. However, what seems to be a ghost story at the beginning is far worse: a systematic plan to manipulate someone beyond their sense of sanity.

This film vividly portrays psychological anguish encapsulated in celluloid, which not only pioneered a phrase that coined emotional abuse but also delivered one of the finest performances in classic Hollywood. That film was Gaslight, and it shifted the narrative of cinema history.

Ingrid Bergman's breakthrough into Oscar greatness

When Gaslight premiered in 1944, Ingrid Bergman was already well-known for her performance in "Casablanca" alongside many other noteworthy roles. It is "Gaslight, "however, that propelled her into the stratosphere as an acting legend.

Her role as Paula Alquist, a woman who is patiently and mercilessly torn apart by her husband, required emotional fragility alongside raw intensity. All of that and more was displayed as she captured a woman's hauntingly precise and gradual unraveling of her mind.

To get into character, Bergman prepared through the lens of Paula's perspective, studying patients in mental hospitals, which gave her character's gradual deterioration heartbreaking realism. Director George Cukor supported this method, and the results enhanced her performance.

For this role, Bergman received the Academy Award for Best Actress, her first Oscar, marking the beginning of a distinguished career that would include two more golden statues.

The movie that gave birth to a modern term

Gaslight is not just remarkable for its performances or direction, but also for its lasting impact on modern-day culture. The film's premise of someone being compelled to doubt their sanity became the foundation of the term 'gaslighting'. Now, the word spans from the realms of psychology, contemporary culture, to social critique and emotional violence, but it all goes back to this dark thriller.

In the film, Paula's husband is played by Charles Boyer, who brings a sinister charm to the character. He skillfully mutes the gaslights, isolates Paula from the outside world, and even goes as far as to hide the things she needs. This is all part of his attempt to conceal his criminal history, a bid to capture his wife's fortune.

Not only were the audiences captivated by the suspense, but they were also captivated by the emotional realism that the character Paula brings to the story.

A noir classic that wasn't entirely original

What many contemporary viewers may overlook is that the 1944 version of Gaslight, regarded as a classic, was a remake of the 1940 British film, which was in turn based on a 1938 Patrick Hamilton play. MGM purchased the rights to the film and allegedly attempted to suppress all existing prints for use in their American remake.

Cukor's remake featured an elevated performance from the lead actress, who was more emotionally driven, along with enhanced style, production, and unparalleled polish. With Dame May Whitty and Joseph Cotton lending further gravitas to the supporting roles, this solidified the film's place in history as the 1944 version became legendary.

A legacy that still flickers today

Eighty-one years later, Gaslight remains a groundbreaking work of psychological cinema. The movie was quite rebellious in the 1940s, as it effectively highlighted the issue of emotional abuse in a striking manner. Moreover, it was subtle, individual, and profoundly disturbing. There was no emphasis on the victim in the traditional sense; instead, the focus was on the heroine's furies and the villain's manipulative powers.

Thus, Ingrid Bergman, through Gaslight, not only found an iconic role but also portrayed a wonderfully enacted character — a testament to her skills as a screen actress. From the viewers' perspective, the film remains a moving tale that serves as a warning against the fragility of perception and the danger posed by those who would attempt to control it.

If you still believe that cinema lacks the power to serve as both entertainment and a means of enlightening the human mind, just sit in front of the screen in the dim light and choose Gaslight.