Fanny By Gaslight (1944)

A quintessential example of the Gainsborough melodramas that captivated wartime British audiences, Fanny by Gaslight (released in the U.S. as Man of Evil) is a moody, emotionally charged Victorian tale of passion, class, scandal, and survival. Directed with elegant precision by Anthony Asquith and adapted from the 1940 novel by Michael Sadleir, the film stars Phyllis Calvert as the eponymous heroine and features memorable turns from James Mason and Stewart Granger.

With its atmospheric cinematography, sweeping narrative, and grand emotional stakes, Fanny by Gaslight remains one of the most enduring and beloved examples of British period melodrama.

Plot Summary

Set in Victorian London, the story follows Fanny Hooper (Phyllis Calvert), a respectable young woman who discovers that her seemingly normal middle-class upbringing is built on deception. She learns that her father (played by Wilfrid Lawson) is not only living a double life but is also the proprietor of a disreputable nightclub-cum-brothel in Soho.

After her father's death in a violent confrontation, Fanny’s carefully constructed world begins to collapse. She is sent to live with distant relatives, where she encounters both kindness and cruelty. It is here that she meets Harry Somerford (Stewart Granger), a charismatic and honourable aristocrat who falls in love with her. But their relationship is threatened by the scheming and cold-hearted Lord Manderstoke (James Mason), who sees Fanny as an object of manipulation and revenge.

As secrets unravel and social expectations tighten around her, Fanny must confront her origins and fight for love and personal dignity in a rigid, class-obsessed society.

Performances

Phyllis Calvert shines as Fanny—gentle, noble, and intelligent, yet quietly defiant. Calvert’s performance is the emotional anchor of the film. She imbues Fanny with a quiet strength, making her more than just a passive victim of circumstance; she becomes a portrait of female resilience in the face of hypocrisy and social prejudice.

James Mason steals every scene as the dark and brooding Lord Manderstoke, one of the most memorable villains of the Gainsborough cycle. With his sardonic delivery, dangerous charm, and simmering malice, Mason gives the film its most electrifying moments. His performance is a masterclass in controlled menace and psychological depth.

Stewart Granger, as the honourable Harry, provides a romantic and moral counterpoint to Mason’s villainy. While his role is more conventionally heroic, Granger’s natural charisma and gravitas make Harry a compelling partner for Fanny and a credible embodiment of the film’s moral conscience.

Wilfrid Lawson offers a touching portrayal of Fanny’s troubled father—haunted, guilty, and ultimately tragic.

Direction and Cinematic Style

Anthony Asquith’s direction is meticulous and emotionally resonant. He uses chiaroscuro lighting and Victorian interiors to conjure a world of social façades and hidden sins. The use of gaslight, both literal and symbolic, bathes the film in an eerie glow that underscores its themes of illusion, secrecy, and moral ambiguity.

The costume and set design are lavish yet authentic, immersing viewers in the claustrophobic elegance of 19th-century England. While the pacing may feel deliberate by modern standards, the film’s structure gives space for emotional development and narrative complexity.

The climactic scenes—particularly the confrontation between Fanny and Lord Manderstoke—are handled with suspense and psychological tension more reminiscent of Gothic thrillers than straightforward romance.

Themes and Subtext

At its heart, Fanny by Gaslight is a critique of Victorian hypocrisy, especially regarding sexuality, class, and gender roles. The film juxtaposes outward respectability with hidden vice, and it interrogates the double standards that punish women more harshly than men for the same transgressions.

Class rigidity is another major theme. Fanny’s journey is shaped not only by her birth but by the social barriers that attempt to define her worth. Her struggle is one of identity: who she is versus how society chooses to see her.

Female agency plays a central role. Unlike many melodramatic heroines, Fanny refuses to be passive. Though victimized by circumstance, she ultimately asserts herself with quiet courage, rejecting both shame and submission.

Cultural and Historical Significance

Released in the middle of World War II, the film offered escapism, but also a pointed reflection on moral resilience and personal dignity, themes that resonated with wartime audiences. The film's popularity helped solidify Gainsborough Pictures as a powerhouse of British cinema during the 1940s.

The melodramas were particularly popular with female audiences, offering stories centred on women who overcame adversity with emotional strength and intelligence. Fanny by Gaslight was banned for a time in the U.S. due to its suggestive subject matter, which only added to its reputation as a daring and subversive work.

Conclusion

Fanny by Gaslight is a richly layered and emotionally satisfying example of British period melodrama at its finest. With top-tier performances—especially from Mason and Calvert—sumptuous visuals, and a narrative that blends romance, scandal, and social commentary, it captures the contradictions of Victorian society with intelligence and heart.

While the genre may seem overly dramatic to modern sensibilities, its craftsmanship, emotional depth, and thematic boldness give the film lasting relevance. It is not only a standout of the Gainsborough melodramas but also a compelling exploration of identity, morality, and female strength in a repressive world.

A brooding, beautiful melodrama elevated by a stellar cast and timeless themes. Essential viewing for fans of classic British cinema.