Man of Evil

This Victorian melodrama has enough plot to fill several volumes and is, what you might call, 'a rum yarn'. Anthony Asquith's "Fanny By Gaslight" was based on a best-selling novel by Michael Sadleir and was a huge hit in its native Britain and it's an exemplary example of its kind. Phyllis Calvert is Fanny and let's just say what happens to her in the course of this tale would put any Dickens heroine to shame or to quote Thelma Ritter, 'all that's missing is the bloodhounds snapping at her rear end'. Stewart Granger is the young man who loves her and James Mason, the nasty brute who would like to ruin her and others in the fine cast include Wilfred Lawson, Jean Kent, Margaretta Sccott, Cathleen Nesbitt and Nora Swinburne. Given that it's basically a soap opera, Asquith handles it with considerable aplomb and the performances are first-rate. If it's a guilty pleasure, it's certainly a highly enjoyable one.

I greatly enjoy the Gainsborough films, especially those "bodice rippers", and with Mason as such a terrific heavy, making every moment of his limited screen time count, this is most enjoyable escapism.

Of course it is Phyllis Calvert as Fanny who dominates the film, ably supported by a well-chosen supporting cast. I much regret that my favorite contemporary British director, Ken Russell, was never able to realize his last major project -a new version of "Moll Flanders", but seeing this 1944 costume picture some 80 years after courtesy of YouTube makes up for it thanks to a very fine British print.

This is a response to the reviewers who write things like "This movie is good for its time." Works of art reflect their era. That is an axiom, not a weakness, and "Fanny by Gaslight" very much reflects the morals and class system of Victorian England. But it also explores timeless themes: loyalty, greed, forgiveness, and love both romantic and familial.

Ironically, the viewers who air such views suffer from the very thing they accuse the movie of: being stuck in their own era. Perfect example, the reviewer who called this movie "stilted and rather tame." If you watch it on its terms, it is neither. Another began the review, "This is a story that doesn't age well," then proceeded to praise the presentation of the protagonist: "With every revelation, she has to make a choice about whether to live her life honestly or prudently." That is a timeless theme.

"Fanny by Gaslight" is admirable as cinema as well: finely paced and structured by director Anthony Asquith; beautifully shot by Arthur Crabtree (a Hitchcock protégée); and with sensitive portrayals by all the actors, even minor roles.

I did want to like this British 40s movie, but there's just too much against it - Phyllis Calvert, who acquires a terribly chic accent straight from school; wooden Stewart Granger as the parliamentary secretary who loves Fanny; John Laurie as her dad with an illicit business on the side; politicians self-destructing; and far too little of James Mason, here giving yet another brooding and sadistic, sardonic aristocrat.

'Fanny By Gaslight' does try - it manages to get subject matter into it that must have seemed very daring in the 1940s, it starts well and grows into some good scenes between Fanny ('only Hooper') and her employer's wife. Then - perhaps because of Granger, IMO - it starts to backfire badly and become a bore. A great disappointment.

Fanny By Gaslight was one of Gainsborough Pictures romances starring its greatest stars, Phyllis Calvert, Stewart Granger, and James Mason all in their salad days. It's a Victorian soap opera with a lot of Dickens like class consciousness thrown into the mix.

The best works of Charles Dickens like David Copperfield, Nicholas Nickleby, and Great Expectations have the common thread of a young man of limited means making his way in the world who with a combination of hard work and good circumstances comes out on top at the end of the story. Fanny By Gaslight is just that kind of a story, except that Dickens would never have his protagonist be a woman. But Fanny Hooper as played by Phyllis Calvert is as good a Dickens hero as you will ever find.

When Calvert returns from boarding school her father, John Laurie, is killed in a fight ejecting a drunken James Mason from his establishment which is just this side of a brothel. When he dies she finds out that Laurie was not her real father, that she is the daughter of a prominent politician Stuart Lindsell. She's taken into his house as a maid. Calvert also makes the acquaintance of rising young politician Stewart Granger who is a protégé of Lindsell and Granger falls big time for Calvert.

Eventually all this becomes known about Calvert's background and it leads to an inevitable climax between Mason and Granger. How it gets to that point is the crux of the film.

Several incidents from the 19th century are used. The sex scandals are pieced from those involving Charles Dilke and Charles Parnell. Lindsell's suicide, jumping in front of a train is a recreation of the death of William Huskisson killed accidentally though by George Stephenson's newly invented locomotive.

Calvert and Granger are a winning pair of lovers and James Mason is one hateful aristocratic villain, a privileged man who lives to enjoy his privileges at the expense of others as Phillip Barry said.

I was surprised at how well Fanny By Gaslight holds up today. In fact the Hays Office had it banned from the USA for a while. Maybe that's its secret.