这部电影最妙的地方在于——它把“窒息感”拆成了针尖大小的细节，悄悄扎进你心里。配乐更阴鸷：钢琴声常突然卡顿在半音，弦乐则像被掐住喉咙的呜咽，配合宝拉数次“丢失”珠宝又被反诬的情节，每一次音乐停顿时的静默，都比尖叫更让人心慌。他不是张牙舞爪的变态，反而像块浸了温水的海绵：会在你恍神时替你拢好披肩，会把你说"害怕"的瞬间笑着归为"小病一场"，却悄悄拧开煤气灯的阀门，把你的家具挪位，把你口袋里的零钱"变没"——他要你一步步怀疑自己的眼睛、耳朵，甚至神智。整部片没有廉价的惊吓，只有这种细思极恐的心理压迫。Dickinson 把维多利亚时代的伦敦拍得像个密不透气的玻璃罩，Walbrook 饰演丈夫时那种循循善诱的温柔比任何嘶吼都教人脊背发凉，他调暗煤气灯后坚称"是你眼睛坏了"的桥段，我现在想起还攥拳头。 本以为是部循规蹈矩的维多利亚时代惊悚剧，Dickinson却用了近乎残忍的耐心，把煤气灯忽明忽暗的物理现象，转化为一场精确计算的心理围猎。
Twenty years ago, old Mrs. Barlow was killed in her home at 12, Pimlico Square for her priceless rubies. The murderer searched the whole house without finding them, then disappeared. The house has been empty since then, but now Paul and Bella Mallen move into the apartment. Bella Mallen suffers from forgetfulness and nervousness - at least that is what her husband tells her. An elderly horse wrangler, B.G. Rough worked as a policeman twenty years ago and still remembers the unsolved case. He notices that Mr. Mallen looks just like Louis Barre, Mrs. Barlow's nephew. And why does Mr. Mallen so mysteriously leave every night just to go into the apartment next door, nr. 14相关搜索：
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