It’s hampered by the dull and stagy presence of Diana Wynyard as the wife. An overall sense of detachment bars our full access to this couple’s twisted emotional life. When it comes to plumbing the depths of one especially ghastly marriage, the remake of Gaslight (directed by George Cukor) is an infinitely richer and more complex piece of work.
It's a unique, complex new entry in gothic storytelling that recalls the dense subtext and filmic innovations of its predecessors like Gaslight, a film that seventy years later still confounds viewers with insights and fuel for modern-day vernacular on psychological abuse.
In one of the final scenes of the movie, Paula is alone with Gregory in the attic, where he has been tied up by the police while attempting to escape with the jewels. She begs the police for a few moments alone with him, which they reluctantly grant her. Ingrid Bergman is magnificent in the scene (she won the Oscar for Best Actress for her performance), as she circles around him, taunting him.