Word: gaslighted
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...shadow that really lies across Taylor, of course, is that of Gaslight, that old movie chiller in which a woman prone to nervous disorders believes herself to be going mad, both despite and because of the fawning ministrations of her husband and a friend. Director Hutton incorporates most of the clichés of the Gaslight tradition, including squeaking stairs, hysterical phone calls and many looks of lingering menace. Screenwriter Williamson's script, adapted from the Broadway play by Lucille Fletcher (who wrote another classic of the genre, Sorry, Wrong Number, a few decades back), retains all the trappings...
...last June to field 24 foot patrolmen during the week and 50 on weekends from a long list of volunteers anxious to work in their spare time; he deployed them in pairs in the city's high-crime areas, most of which are within a few miles of Gaslight Square. Each pair was given about three blocks to cover, with instructions to avoid predictable patterns and to keep as high a profile as possible. The program's main concession to modern technology: each officer was issued a $1,000 transistorized walkie-talkie radio to keep in touch with...
...mystery thriller, clues may be misinterpreted, but they ought not to be deliberately misleading. When the scattered links are put together, they should form a logical chain. Lucille Fletcher (Sorry, Wrong Number) fails to keep that compact with the audience. Most of Night Watch seems like a rehash of Gaslight, with a neurasthenic wife being driven totally batty by her calculating husband and his mistress (Elaine Kerr). An unprepared-for ending quite reverses this premise. As the lady with frayed nerve ends, Joan Hackett is convincingly twitchy, but she overworks the part to camouflage how underwritten the play...
...Gaslight, Ingrid Bergman in George Cukor's version of an eerie tale. Kirkland House Dining Hall, 8, 10, Wed. (22 March...
...High Lama in Lost Horizon, Widmark and Horne seem at once endlessly old and miraculously preserved, as if they were waiting for a revelation. Death of a Gunfighter is not it. In a town settling into the 20th century, stallions mix with horseless carriages and Mazda bulbs compete with gaslight. The contrast of periods is minor compared with the clutch of anachronisms offered by the script. Among them: police brutality, strained race relations, the lowly role of the Jew in society, adolescent sex, and finally the message, delivered by the county sheriff: "Frank Patch is your conscience...