Leigh Whannell’s new take on H.G. Wells’ 1897 novel THE INVISIBLE MAN is a Blumhouse film, so of course there has to be a twist — and in this case, it’s one that makes this version of INVISIBLE MAN less like the many adaptations that preceded it, and more like George Cukor’s 1944 film GASLIGHT, which is similarly focused on a man’s malicious manipulation of a woman at the expense of her own credibility. In this half of our gaslighting double feature, we talk over what makes this new INVISIBLE MAN work as well as it does — primarily Elisabeth Moss’s stellar central performance — before diving into what the two films share in their portrayals of manipulation, madness, and trauma, and how each uses atmosphere and physical space to to amplify their sense of unease and terror. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about GASLIGHT, THE INVISIBLE MAN, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show

• Scott: Jonathan Demme’s RACHEL GETTING MARRIED

• Tasha: Galder Gaztelu-Urrutia’s THE PLATFORM

• Keith: William Asher’s NIGHT WARNING, aka BUTCHER, BAKER, NIGHTMARE MAKER

Outro music: They Might Be Giants, “I Am Invisible”

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