The truth is: even with prior knowledge of these toxic behaviors and rhetoric, the film's narration, with the thinning of the gas burner, the dimmed lights, and the ghostly footsteps coming from the ceiling, still feels terrifying. Pola was in her own house, where her husband left in the name of work, where the maid went out on a date, and where only the cook was deaf, she was obsessed with dimmed gas lights, weird noises, missing brooches, walls The idea of a small painting that was taken off from the top, trying to talk about it but not being believed by anyone, but in a collective environment of "referring to a deer as a horse", how can you not question yourself? "Crazy thinking, forgetful and sick" under such accusations, the more you resist and question, the more in line with the "disease". Pola was dressed for going out, she was well dressed, but she was defeated at the moment she finally stepped out of the house, turned around and walked upstairs, what a delicate and cruel torture! Such Pola could only lean on the head of the bed, her face was pale, waiting for the gas light to turn on during the long night, her big eyes were full of patience and panic, just for confirmation, confirmation of death.
The design of Anton's husband is very wonderful, and there is also the perspective of class and personal struggle. It's just that, in his opinion, Pola is like a gem or a mine (?, he is almost a colonist from a foreign land, using all kinds of deception and hypnosis on Pola to carry out the primitive accumulation of capital...
Thinking of "Letter to Brother Xiannan", the narrator finally scolded and directly uncovered the warm and affectionate mask of "Brother Xiannan": "You didn't take care of me who knew nothing, but made me become nothing. People who won't. Do you feel very happy when you make a person a fool and command to and fro as you want?" Anton's approach is also to constantly weaken Pola's power, and he likes the last single dialogue between Pola and Anton, "Yes, I'm crazy, but fuck you!"
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