So you know what that means: Horror TV episodes Tuesday
I know this is a little odd, TV episodes on a Tuesday instead of Friday as I’ve been doing for the past few years?
Well this year October 1st started on a Friday and it just doesn’t seem right for Horrorfest to start with a review of a TV episode.
So instead we will be reviewing TV episodes on Tuesdays, TV Tuesdays.
And our next TV episode comes from Murder She Wrote.
I love Murder She Wrote, as I grew up watching the reruns on TV Land and Hallmark. The story was of widowed, retired school teacher, Jessica Fletcher (Angela Lansbury) who becomes an author-published under the name J.B. Fletcher.
As she goes about life she gets pulled into all these different murder mysteries, using her intellect and observational skills to solve the crimes.
Today’s pick is one of my favorites from Murder She Wrote, because of all the possibilities.
This episode takes place in season 11. Jessica Fletcher has become an international bestseller and has made friends with people of various backgrounds from all around the globe. In this episode Jessica is in Italy, excited for her friend Andrea Beaumont’s big premiere as prima soprano. Over a year ago, Andrea was stalked by a crazed fan and has been in therapy. She is finally returned to singing, but as Andrea heads to the theater we see the fog and hear a creepy voice threaten to kill her.
Aahhh!!!
Andrea ends up fainting and is sent back to her hotel, this being the first of many incidents. Andrea continues to get calls as someone is harrassing her? But who could it be?
Mystery, you say?
This episode has a plethora of suspects:
Andrea’s former stalker was sentenced to prison last year, but when the police start investigating they discover that he was released early. He has been keeping with his probation appointments, but a week ago he seemed to have disappeared. Has he come back and followed her to Italy to finish the job?
Hmm…
Drew Granger (Bruce Abbott) is the conductor of the opera production and he is in an extremely bad mood. He and Andrea had a thing, but she left him when she met Jonas Cole, marrying Cole instead. Drew is dating Vicki Lawson, PR manager, but he doesn’t seem to be over Andrea, as he and Cole are constantly going toe to toe over her. Could he have been repeating the stalking as he is intimate of the details and wants her to pay for leaving him? Does he think by making things stressful she would want to date him again, this incident bringing them closer together? Or maybe it isn’t romantic at all? Granger was asked to conduct in New York, a much bigger deal than this Genoa show-but he’s locked in his contract. If Andrea cannot continue and the production chooses to cancel instead of continue he will be free to leave. Could it be him?
Stella Knight is the former prima soprana, but is seen as being “too” old, having to move over for the younger Andrea. She is furious and demands her husband do something and does all she can to make things hard on Andrea. The stalking was widely publicized, could she be recreating it so Andrea quits and Stella can take back her role?
Jonas Cole is Andrea’s stock broker husband. He is caring and loves her, but he always seems to be gone or off doing something when she needs him most. And as they always say-the husband is the first to be looked at. He could be trying to kill her and wanting someone else to “take the fall”, maybe for money or to get rid of her so he can remarry. Maybe he doesn’t want Andrea dead, but is trying to “kill” her career hoping to “scare” her into permanent retirement?
Hmmm…
Rudolfo Petrocelli is the company director and is worried about money and the performance. He can’t understnd it, but they seem to be barely making it. If Andrea quits the performance she will have to pay for dissolving the contract. If that happens the company would actually make more money than what they would make with ticket sales. Could he be behind this scaring?
Hmm…
Vicki Lawson is the PR manager of the tour and this event. She’s good friends with Andrea…or is she? She is dating Drew Granger and mad that he seems to be focused on Andrea than her. Not only does Drew end up dumping her when Andrea joins, but when she tries to make Drew see he needs her expertise, he gives her the kissoff. Could it be that she became so jealous that she is striking out at Andrea? Maybe she thinks if she gets rid of her she can have Drew back?
The poilice promise their protection and tap the phones to try and pinpoint where the stalker is calling from. But even with their best efforts the stalker still comes backstage and tries to attack Andrea.
So Whodunnit? One of the suspects figures it out and tries to to blackmail the stalker, winding up dead instead, (as the murder in Murder She Wrote). Which one could it be?Which one? You need to watch this to find out.
While some episodes are a little more obvious as to who the killer is, I really like that this one gave us so many possibilities. It is a fantastic episode, with plenty of remediate and turns. But don’t worry, Jessica always figures them out.
First of all, this chapter starts off with a warning:
This chapter contains scenes of implied sexual violence that may be upsetting to some players. Discretion is advised.
What does that mean? This sounds bad…
Hmmm…
In the last part, I found out that my father is dying, and instead of keeping it from my arch-enemy, my stepbrother Mr. Marcastle, I told him. He has been trying to destroy me, but it is his father too. Family, right?
While I am commiserating, Briar gives me a stack of love letters. Of course I want to read them-maybe something sweet about my parents or even useful information that can help me is in them? But unfortunately, I did not have enough diamonds. I ended up having to pause the game and now I’m back as I achieved enough diamonds to get to read them.
So the first letter is from April 1794, and is from my father to my mother. In the letter, my father talked about how he loved hearing my mother sing at the opera, debate music, and he found out her address as he had to write her so they could meet up again.
The next letter is from May 1974 and it turns out that my grandfather didn’t want them to be together. My mother didn’t have enough of a pedigree or money for him-I see we have a General Tilney on our hands.
My father writes incredibly romantic letters about how my mother is the only one for him.
Everything seemed to be going well with them, what could have changed things? Why didn’t the end up together?
What happened?
Then there is a letter from February 1795 in which he declares no matter what my grandfather does or says they are going to be together. He will risk it all for my mother…
But if that is how he felt, how come they didn’t get married? What happened?
Hmm…
Then there is a letter from grandfather, uh oh…
It turns out he stole any incoming letters and my father married someone else. Even the letters that came in 1800 about me being born…what a jerk! So the grandfather is the true villain.
I learned a little about the past, but mostly it just made me sad. Although this did answer my question why grandma liked me. I was trying to figure out why she was so nice to me if she didn’t like my mother, so it wasn’t her, it was grandfather!
But as the title of the chapter says, the clock is running out and I need to hurry to see him if I am going to catch him before his final moments. But before I can do anything, Miss Sutton comes to warn me that I need to hurry. She heard Mr. Marcastles and Countess Henrietta talking about the will, and how my father left me Edgewater. I must hurry home before them as they plan to destroy the will.
Thank goodness I decided to be nice to her, or else I never would have found out about this.
Making friends turned out right to be the right strategy with her.
I need to hurry, and the fastest way would be with a horse. Good thing I bought a horse a few chapters back.
But as I head outside, I run into Duke Richards who invites me out and isn’t interested in me saying no.
In fact, not only does he insult me, calling me a b****** but he threatens me as well. He tells me he is going to force me to come with him, to take what he wants, and when I threaten to tell people-he says who will believe me.
You are going to threaten me??!!!!
I have the option to confront Duke Richards or say nothing. I am not letting this go.
I would love to take him down…but it costs 16 diamonds and I just spent all mine on reading the letters from my dad.
Looks like there is going to be a part III to this thing.
In the last episode I had a dinner party with Mr. Sinclaire, and learned all about his real wife and the ugly side of the Duke. The two of us have grown closer together, and I don’t mind admitting I’m falling for the Mr. Darcylike man.
In this episode I’m invited to the opera, so first stop the clothing store!
You have the option of buying a beautiful dress, but as I’ve been invited to go with Duke Richards, yuck-I’m not buying anything nice. I’m just going to wear an old dress. He doesn’t need anything special.
The one I bought for the dinner will do nicely.
Poor Miss Parsons, we talk and she discusses a horrid date she had. It is with a gross old man, ugh, the girl can’t catch a break. Too bad my brother died or we could have been sisters.
As I head out of the shop, I run into Prince Hamid. You all remember him, the man who rescued Miss Parsons and I when Mr. Marcastle left us stranded in London.
He’s with the Duke, ugh! Can this guy just get lost!
The Duke
The Duke is planning on taking you and Miss Parson’s to see Handel’s Almira and is surprised to hear that I know of it. Seriously dude, my mama was an opera star.
Princess Almira has inherited the throne from her father, but he wishes that she marries someone from the House of Consalvo. The House of Consalvo has one son, but Princess Almira is not interested in him, and he only wants her for wealth and power. Instead, Princess Almira is in love with a man who has unknown parentage, Fernando. There are a lot of twists and turns in the opera, will it end happily or in tragedy?
So this makes me think of two things: first of all-wow what a crazy coincidence! That’s what’s kind of happening in my life.
And secondly:
Back to the game, Prince Hamid offers to pick you up when we go to the opera, but ugh the Duke is taking you. Bah.
Ugh, this guy!
However, the Duke has other business to attend to-so Prince Hamid offers to take you over early to the opera. Here is your chance to get a closer look at who your mother was!
I’ll get the secrets!
I go into the opera house and feel melancholy as I wished I had asked my mother more questions. I meet an actress who tells me my mother was an amazing singer, she was a big star until she became pregnant. They invite you to stay to watch, and as much as I love to I turned it down.
The stage is no place for a respectable girl, and I need to protect my reputation-I have Mr. Marcastle to deal with. And he is just waiting for an opportunity like this.
When you go home, you have a big surprise. Luke Harper is there with a letter from your father!
The hunt is on,
But which man do I want? It’s up to you to decide! Plus you have to fight the rumors that the Countess is spreading.
Day 20) T is for Translated: Choose a book that was Translated from one language to English
The Phantom of the Opera by Gaston Leroux
Yes, I know I said I wouldn’t talk about this book. However, as I was trying to think of books I like that were originally in another language, I couldn’t think of anything but this book and Jules Verne’s novels.
I already reviewed two Verne books, so with nothing else coming to mind, I decided to review The Phantom of the Opera.
Gaston Leroux studied to be a lawyer, but when his father died, he found himself a millionaire. He immediately quit school and went on a big spending/gambling spree losing everything.
Afterwards, he began to work for a newspaper, doubling as a court reporter and a drama critic. As he toured the opera, ballets, plays, etc.; and heard different stories about what went on in the theaters, it gave him an idea.
With that he published The Phantom of the Opera as a serial from 1909-1910, being translated and published in English in 1911. The story is told from the viewpoint of an interviewer as he researches his subject and tries to tell the history of this Phantom.
Growing up I just loved this book so much. I used to check out the children’s version again and again; graduating to the unabridged when I grew older.
So here I am going to do a slightly different post, I am going to focus on one character: the Phantom.
I just love him:
Erik is a wanderer. After being hurt by so many he no longer considers him as having an nationality or family.
His pain originates from when he was a child and his own parents were too disgusted to see his “true form.”
“When my own father never saw me and when my mother, so as not to see me, made me a present of my first mask.” (pg. 130)
Aw, man.
He is so often used to being considered as death, that he has even prepared him room as such. All in black and even sleeps in a coffin. How sad is that? Poor guy!
But even in that ugliness and sadness there is beauty. He is a musical genius with a voice like no other.
“He heard a very captivating voice…Raoul had never heard anything more absolutely and heroically sweet, more gloriously insidious, more delicate, more powerful, in short, more irresistibly triumphant…nothing could describe the passion with which the voice sang…” (pg. 98)
Erik is very intelligent and has done many things before coming to the opera house and meeting Christine.
“You must not think, Raoul, that he [Erik] is simply a man who amuses himself by living underground. He does things that no man could do; he knows things which nobody in the world knows.” (pg. 135)
I mean he built THAT opera house and created numerous trap doors, spring sets, his own secret underground home. And that’s not the only thing he has created. He built palaces for Sultans and Kings; but always being betrayed by them as they want him dead so that they alone can posses his genius.
One day the Phantom comes upon Christine and decides to help assist her to become a fantastic singer.
“From that time onward, the voice and I became great friends.” (pg. 116)
They spend years together as the Phantom puts his all into teaching her and helping her. Then one day Christine spots Raoul and tells the phantom all about seeing him. And the voice disappears. Christine is anxious and scared. She knows she is nothing without him, she will shrivel up into a has-been.
The next day the Phantom comes and tells her he has to leave her.
“The voice was there, spoke to me with great sadness and told me plainly that, if I must bestow my heart on earth, there was nothing for the voice to do but go back to heaven.” (pg. 117)
You see, no threats. No harsh words. The Phantom would have simply backed off if she loved another. He would be heartbroken, but that would be the end of it. Except…
“I swore to the voice that you were no more than a brother to me nor ever would be and that my heart was incapable of any earthly love.” (pg. 117)
You see that!!!! You see that!!! She purposely leads on the Phantom because she just wants to use him. She doesn’t love him, she doesn’t care for him, as she has stated before:
“[to Raoul] And that, dear, first revealed to me that I loved you.” (pg. 117)
She knew, but she had a good thing and didn’t want to see it disappear. Now she tells Raoul that she “lied only because she thought she had no chance with Raoul.” But is that even the truth? She already admitted to playing the Phantom, she’s probably playing Raoul too. He’s rich and interested, and now she’s going to play the little helpless victim to catch him.
So you know what, I never feel sorry for her. She created this whole mess as she only cared about herself and not what her false declarations did to people. She almost kills hundreds because of her selfishness. I feel bad for the Phantom. Poor guy, who is completely crushed by her. He picked the wrong woman.
Then the Phantom carries her off underground into his home.
Now I admit, his carrying her off wasn’t the right thing to do. He should have asked her instead of just carrying her like that. But what does he do next? He confesses that he isn’t an angel or teacher but that he is the Phantom of the Opera, its architect, etc.
“He [Erik] feels me with horror and I do not hate him. How can I hate him Raoul? Think of Erik at my feet…he accuses himself, he curses himself, he implores my forgiveness!…He loves me! He lays at my feet an immense and tragic love…He has carried me off for love!” (pg. 125)
He treats her wonderfully. He respects her as a thing of beauty and doesn’t harm her or touch her. And when she is upset and wants to leave?
“And, when I stood up, Raoul, and told him that I could only despise him if he did not, then and there, give me my liberty…he offered it…” (pg. 125)
See he isn’t a crazy killer or psychotic (yet). He loves her and respects her wishes. She’s the viper, she’s evil as she chooses to stay there even though she doesn’t love him, she just wants to use him.
“For he sang. And I listened…and stayed!” (pg. 125)
She falls asleep and then wakes up in a whole different room, properly freaked. BUT then spots a note left to her by the Phantom.
“My dear Christine, you need have no concern as to your fate. You have no better nor more respectful friend in the world than myself.” (pg. 126)
He just let her alone, as he sees her as the kindest and most divine woman; respecting her. He also purchases tons of things for her in order to make the place truly home.
How sweet!
But Christine is not happy. She wants out. She is angry with the Phantom, even though he has given her everything! All she wants is to see his face as “no honest man would wear a mask.” But that is the one place Erik won’t give.
Then Erik mentions how most of her time with him will be musical practice. She is angry as he wants her to stay five days, then he will let her go again as she will either love him (hope) or pity him. But Christine is now upset that he won’t let her go now, but hey he offered you before.
She cannot make up her mind.
The real issue Christine has with the Phantom is his skull-like face. This is what breaks her and makes her horrified and disgusted. She can’t leave well enough alone, and asks him to play for her, plotting her deception. When he is too worked up in the music she snatches the mask off.
Now she thinks he is disgusting, and here is where he makes his first incredibly bad decision.
He tells Christine that he can’t let her go. He knows that she sees him only as a monster, and if returned to the surface would tell others of the “monster”, causing them to be riled up, create a mob, and set out to kill him.
Grab your torches and sharpen your pitchforks!
Christine, the little actress she is, starts playing to the areas he has been insecure. She tells him that he is genius, his music causes her to forget his looks. She even burns his mask to symbolize that she is “above” such things. In reality she is playing him from every angle, earning his trust so that he is willing to believe she actually loves him and won’t harm him. Letting her go.
Christine acts as if he is a true monster, but the Phantom has a compassionate heart. She asks if she can pretend to “be engaged”, playacting, with Raoul and the Phantom agrees.
“He said, ‘I trust you, Christine. M. de Chagny [Raoul] is in love with you and going abroad. Before he goes, I want him to be as happy as I am.” (pg. 134)
How can someone be unfeeling when they consider what their arch rival’s feelings?
How sweet!
Eventually, the Phantom figures out the truth, that this was all a set up and steals Christine away; that final act of betrayal being the straw that broke the camels back.
I mean he really believed that someone had fallen in love with him.
“It is my wish…my wish to let her go; and she will come again…for she loves me!…All this will end in marriage…” (pg. 206)
He thinks his dream and true love is in his grasp!
“…Now I want to live like everybody else. I want a wife like everybody else and to take her out on Sundays. I have invented a mask that makes me look like anybody…All I have ever wanted was to be loved for myself…” (214)
The thing I really hate about the Andrew Lloyd Webber musical is how the changed the relationship between Christine and the Phantom with her thinking if him as her father and making Raoul less of the pansy he was. But most of all they make the Phantom a total psychi and murderer. He doesn’t really kill people in the book, unless it is for self-preservation. We only witness three: two were out trying to get him, and the third he accidentally kills Raoul’s brother, who when searching for him falls into a trap. The Phantom really regrets having killed him. And he also does bring the chandelier down, which injures and kills. How many, we don’t know.
He then gives Christina an option. She can choose Raoul and the Opera house will be blown up (as Erik has hidden dynamite under the floor when he built it) or she can choose him and save everyone. I have to admit that forcing her to choose marrying him was not right or what she should do, but people who have been betrayed often do not think logically but just want to heart the person who hurt them.
But in the end he let’s Christine go, because she finally gave him the one thing he has most wanted: companionship and love:
“I tell you I kissed her just like that, on her forehead…and she did not draw back her forehead from my lips! (pg. 247)
Poor Erik!
“Poor, unhappy Erik! Shall we pity him? Shall we curse him? He asked only to be “some one,” like everybody else. But he was too ugly! And he had to hide his genius or use it to play tricks with, when, with an ordinary face, he would have been one of the most distinguished of mankind! He had a heart that could have held the empire of the world; and, in the end, he had to content himself with a cellar. Ah, yes, we must pity the opera ghost.” (pg. 259)
I think what resonates the most with this story is how relatable the Phantom was. Who of us hasn’t at one time hated how we looked?
Had our heart broken:
Been betrayed by someone we thought cared about us?
Or felt we hadn’t received the recognition we deserved?
What else can I say?
Why yes I do!
Starting in 2015, I decided to dress up “Jane Austen” in Halloween costumes. Check her out as the Bride of Frankenstein.
Today’s carol is The First White Christmas from the claymation, The First Christmas:The Story of the First Christmas Snow.
I couldn’t find any info on the song, but they play it in the opening and ending credits. I always thought it was cute, and it tends to get stuck in my head.
I couldn’t find a video unfortunately, or a good link to watch the film (as they took down the best one).
…Because I am mad, I hate you. Because I am mad, I have betrayed you. And because I’m mad, I’m rejoicing in my heart, without a shred of pity, without a shred of regret, watching you go with glory in my heart!
So last year I reviewed the Alfred Hitchcock film Under Capricorn. In the post, I mentioned how it wasn’t widely received or enjoyed by critics and audiences, one of the reasons being its similarity to this Gaslight (1944), and because it starred two of the same actors; Ingrid Bergman and Joseph Cotten. I personally like Under Capricorn better, but let’s take a look at this film.
So the movie is based on a play, and a remake of the film that came out four years prior to this one. It won an Oscar for best set design, best actress, and critical praise for all actors. This is a historical fiction film, taking place at the turn of the 20th century. The name of the film comes from the gaslights used in houses; back then lights in London houses had gas flames, and when you lit one light, it reduced the gas supply to the other lights in the house causing them to dim.
Renowned opera singer, Alice Alquist, is strangled to death in her London home, No. 9 Thornton Square. The thief is searching for her famed emeralds, but is interrupted and flees. Paula Alquist (Ingrid Bergman), Alice’s niece, has been living with her aunt ever since her parents died. She finds the body and becomes completely traumatized.
AAAAAAAAHHH!!!!!!!!!!!!!!!
Paula moves to Italy, where she studies music, following in the footsteps of her aunt.
Ten years later, Paula confesses to her voice teacher, Maestro Guardi, that she has finally been able to move past the traumatic event and has fallen in love.
Maestro doesn’t want to lose his most talented student, but he also wants Paula to be happy, and encourages her to follow her heart.
She does and accepts the proposal of the handsome Gregory Anton (Charles Boyer), a pianist she has only known two weeks.
During their honeymoon, Gregory tells Paula he has always dreamed of living in a fashionable London square. Anxious to please her hubby, she suggests that they move into her aunt’s old house that she inherited.
Something bad is going to go down. I can just feel it.
When they move in Paula begins to have nightmares about what she saw before.
Gregory tells her that it will help if they remove everything that belonged to her aunt up into the attic, sealing it up. But then strange things start happening.
The gaslight flames keep going down, although no other lights nearby are being used. Why are they dimming!!
Never a good sign.
And what is making that strange noise in the sealed attic. Gregory doesn’t hear anything at all, doesn’t notice any lights, and Paula begins thinking she might be going crazy!
One day Paula discovers a note to her aunt dated two days before her murder, from a Sergius Bauer. He begged to see Paula’s aunt, very intensely. She shows it to Gregory who becomes upset over the whole thing and quickly silences Paula.
It is clear there is more to this man than his charming, suave, and handsome personality.
Meanwhile, Paula continues to hear things even though Gregory and the servants say that they hear nothing. Paula starts questioning herself, and becomes more insecure every day.
To make matters worse, Gregory has hired a saucy, young, maid Nancy. She is played by Angela Lansbury in her first film role. This maid is rude and cruel to Paula, making her feel worse and even crazier. Nancy is also making a ploy for Gregory.
Nancy Oliver: Gonna work on your tunes again tonight, sir? You’re always working, aren’t you?
Gregory Anton: Yes. What are you doing with your evening out?
Nancy Oliver: Oh, I’m going to a music hall… [starts to sing ‘Up in a balloon’]
Gregory Anton: I’ve never been to an English music hall.
Nancy Oliver: Oh, you don’t know what you’ve missed, sir…
Gregory Anton: And whom are you going to the music hall with?
Nancy Oliver: A gentleman friend, sir.
Gregory Anton: Oh, now you know, Nancy, don’t you, that gentlemen friends are sometimes inclined to take liberties with young ladies.
Nancy Oliver: Oh no, sir, not with me. I can take care of myself – when I want to.
Gregory Anton: You know, Nancy, it strikes me that you’re not at all the kind of girl that your mistress should have for a housemaid.
Nancy Oliver: [flirtatiously] No, sir? She’s not the only one in the house – is she?
Paula’s life is quickly becoming worse and worse.
Three months later, Paula and Gregory are going to go to a Tower of London tour. Gregory gives her a brooch that once belonged to his grandmother. He warns her to be careful, as the clasp is broken, and not to lose it. Paula puts it in her purse, but while they are at the tour she starts to worry that she lost it. When she checks the purse, it is gone!
While looking at the crown jewels exhibit, she is approached by a Brian Cameron. In the original play and film, this character was stout and elderly. However, that didn’t suit Hollywood, so instead they made him the young and very attractive Joseph Cotten.
Brian greets her very warmly as he recognizes her, being a huge fan of her aunt. Gregory doesn’t like Brian and questions Paula about him, but she insists that she has never met him before.
That night Paula confesses about losing the brooch, and Gregory yells at her “forgetfulness” that is running rampant. It seems that Paula is always forgetting things and hearing things that aren’t there.
That night Paula sees the gaslights dimming again, and also hears noises that sound like footprints.
Why is this happening to her? Why is she going losing her mind??!!
Two months later, Brian comes around Thornton Square. He is curious about Paula as he has never seen her at any parties or events, even though they run in the same social circles.
He goes to question Paula’s neighbor, when he notices Paula about to leave the house. Before she can go out, she is bullied by Nancy to stay in. It is clear who thinks they are the “real” mistress of the house.
It turns out that Brian is more than a music lover, he works for Scotland Yard.
He goes to the office and starts looking into the case file on Alice Alquist’s murder. Alice was given some amazing jewels from a secret admirer, all which are missing now. Did the thief manage to get them all? Or did Alice hide them very well?
Brian is convinced that Paula is in danger, and assigns a detective to watch over her house.
Meanwhile, Paula is convinced that the maid is trying to get rid of her. She tries to talk about this with Gregory, but he thinks she is just paranoid.
Brian poses as the neighbor’s nephew I order to explain him being around her neighborhood so often. He tries to see Paula, but Gregory refuses. Paula is shocked at his behavior, why is he being so rude?
Her mood quickly changes when Gregory tells her that he is taking her to the theater. However, before they leave Gregory accuses Paula of taking a painting down when Paula has no memory of doing any such thing.
Gregory finds the painting on the stairs, and tells her that this is the third time she has done it. She is getting worse.
Noooooooooo!!!!!!!
Paula shares about the noises she has been hearing and Gregory tells her she is too unwell to go out. Now Paula is stuck at home and scared that she might get sent away to a mental institution.
Gregory decided to leave for his music studio, while Paula is home alone and again hears the strange noises.
Why is this happening?!!
Brian is invited to a piano concert at Lord and Lady Dalroy hoping to run into Paula as he knows they were also invited. But Gregory refused, as he believes Paula is too sick. Paula is furious and tells him she wants to go and will go without him. Gregory doesn’t “trust” her on her own and decides to accompany her.
When they get to the concert, Gregory tells Paula that his watch is missing. Paula ends up finding it in her purse, even though she knows she never put it in there, and this causes a huge scene with Gregory deciding to take her home.
When they reach the house, Paula says that all her problems began when she found that letter to her Aunt from Sergius Bauer. Gregory tells her he has no idea what she is talking about as no such letter exists.
Is she crazy? Or is there someone trying to make her think she is crazy?
Gregory yells at Paula, telling her she is going as crazy as her mother. He informs her that as she is going insane, he has already arranged for two doctors to examine and treat her.
Noooooooooo!!!!!!!
Gregory leaves, and when he does Brian and another officer follow him, but lose him in the London fog.
Inside the townhouse, Paula hears the footsteps again and asks the cook if she hears anything. The cook says no, and this just reenforces to Paula that she is insane!
Back on the streets, Brian has been watching the house and figured out that when Gregory leaves, he doesn’t go to his music studio but into the deserted No. 5 townhouse and crosses the roof into the attic of No. 9.
The next night, Brian waits until Gregory has left the house, and then goes in to see Paula, trying to convince her she is sane.
Upstairs, Gregory is in the attic tearing everything apart as he is searching for something.
Downstairs, Brian forces Gregory’s desk opens and finds that Gregory’s gun is missing. Paula also finds the note that Gregory told her “didn’t exist.”
They compare the letter to Gregory’s writing, and Brian figures out that Gregory is Sergius Bauer, the man he suspected killed Paula’s aunt. Bauer/Gregory was searching for the jewels and couldn’t find them, having to leave that night, and resurfacing to marry Paula in order to gain access to the jewels.
Upstairs, Gregory has finally found the jewels in an opera costume. When the gaslights pick up, Brian knows it is time to get out of there. He takes off and then goes up through No. 5 to the attic.
Gregory comes downstairs and finds his desk broken. He yells at Paula, but is interrupted by Brian who has come through the attic with the destroyed costume.
Gregory Anton: I knew from the first moment I saw you that you were dangerous to me.
Brian Cameron: I knew from the first moment I saw you that you were dangerous to her.
Gregory rushes upstairs and the two fight. A gunshot rings out!
Paula runs upstairs to see what happened. There she finds Gregory tied up in a chair.
And we have what I think is the best scene in the movie.
Brian comes to take him away.
Gregory Anton: I don’t ask you to understand me. Between us all the time were those jewels, like a fire – a fire in my brain that separated us – those jewels which I wanted all my life. I don’t know why… Goodbye, Paula.
Brian consoles Paula, telling her he will always be around if she needs him.
He definitely went beyond his duty.
This film isn’t bad and Ingrid Bergman worked hard on her character; actually going to a mental hospital and studying people suffering from different issues. However, I feel her delivery in Under Capricorn was much stronger than this one.
Otherwise, it is not a bad film and a pretty good thriller. And in case you were wondering, the psychological term ”gaslight/gaslighting” does come from this story.
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