![]() ![]() 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. In 1944’s Gaslight, Ingrid Bergman fills the screen entirely. ![]()
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