Ethel Barrymore's whole suburban world is turned upside down by the sudden knock at the door by the curious Maurice Evans who inquires as to the origins of her ornate door knocker. She politely answers his questions, impressed with his knowledge of art, and soon, he is across the street in the park painting her flat. She kindly invites him in for conversation, but he's actually rather insulting to her, even going as far as to steal from her. But she's forgiving, and when he follows her into a bookstore to return the stolen item, she gullibly falls prey to his next scheme which involves his frail wife (Betsy Blair) and cockney friends (Keenan Wynn and Angela Lansbury) who show up and basically take over. There's really nothing Barrymore can do, and she ends up being trapped in terror in her own bedroom as the nefarious villains begin to sell her belongings.
On the surface, Barrymore's not quite totally sweet old lady seems more stupid than simply just kind. She's actually quite emotionless, showing no real fear other than annoyance. However, like any great thespian, Barrymore speaks more with her eyes than words, especially when she's standing over the banister in her own home and witnesses a scene between Evans and her loyal housekeeper (Doris Lloyd) that expresses a thousand thoughts. Lansbury is basically playing an older version of her character in "Gaslight", and it certainly would be interesting at this point in her career to see her playing the Barrymore part. Wynn, one of the great character actors of the golden age of cinema, was adept at parts either comical or sinister, and here, he does the later brilliantly. Lloyd also deserves kudos for showing her character's fear after coming off as quite tough when the situation first began to develop. Blair's fragility reminds me of the great character actresses Judith Evelyn and Edith Barrett, women who often played those afraid of their own shadows.
The Victorian age setting is brilliantly crafted at the hands of director John Sturges who doesn't put on any pretensions while creating a dark atmosphere which dominated most of his films. Previously made 15 years earlier with a younger actress playing the Barrymore part (Aline MacMahon), "Kind Lady" is the type of predictable "gaslight" thriller that dominated the stage (sort of like "Night Must Fall") and takes great pains in exposing sociopaths for the demented minds that are covered up by alleged sophistication and phony manners.
On the surface, Barrymore's not quite totally sweet old lady seems more stupid than simply just kind. She's actually quite emotionless, showing no real fear other than annoyance. However, like any great thespian, Barrymore speaks more with her eyes than words, especially when she's standing over the banister in her own home and witnesses a scene between Evans and her loyal housekeeper (Doris Lloyd) that expresses a thousand thoughts. Lansbury is basically playing an older version of her character in "Gaslight", and it certainly would be interesting at this point in her career to see her playing the Barrymore part. Wynn, one of the great character actors of the golden age of cinema, was adept at parts either comical or sinister, and here, he does the later brilliantly. Lloyd also deserves kudos for showing her character's fear after coming off as quite tough when the situation first began to develop. Blair's fragility reminds me of the great character actresses Judith Evelyn and Edith Barrett, women who often played those afraid of their own shadows.
The Victorian age setting is brilliantly crafted at the hands of director John Sturges who doesn't put on any pretensions while creating a dark atmosphere which dominated most of his films. Previously made 15 years earlier with a younger actress playing the Barrymore part (Aline MacMahon), "Kind Lady" is the type of predictable "gaslight" thriller that dominated the stage (sort of like "Night Must Fall") and takes great pains in exposing sociopaths for the demented minds that are covered up by alleged sophistication and phony manners.