A very worthwhile adaptation of Oscar Wilde's famous novel. The most thrilling and chilling element of Lewin's film is the atmosphere achieved by the shadowy, foggy lighting and carefully chosen set pieces. Wilde's tale of moral degradation and debauchery is beautifully told here, with a faithful script and an interesting range of actors on display.
The unknown Hurd Hatfield is Dorian Gray, a young man of beautiful appearance. The casting of Hatfield as Gray was a stroke of genius by the casting director. Hatfield is eerie and porcelain-like in his features, conjuring images of unreal male beauty. After his friend Basil paints his portrait, Dorian Gray makes a selfish wish which will haunt him for ever-
'If only it was the picture who was to grow old, and I remain young. There's nothing in the world I wouldn't give for that. Yes, I would give even my soul for it'.
Dorian does indeed sell his soul for eternal youth, engaging in a life of corruption and foul deeds under the influence of Lord Henry Wotton (George Sanders, who seems born to play this role). From jilting his fiancé, the actress Sibyl Vane (a very young Angela Lansbury), and effectively causing her suicide, to murdering a close friend and engaging in loose behaviour with young men (this is only barely hinted at, due to the Hayes Code), Dorian still retains his youthful looks. However, his portrait, as he fatefully wished, reflects his true behaviour. It has grown ugly and twisted, old before it's time, and Gray is compelled to hide the evidence of his dark deeds.
Wilde's tale is fascinating, and richly told on screen. The production certainly benefits from the lack of star power. Indeed, at the time of release, Sanders was the only real 'star'- the rest were up-and-coming, relatively unknown actors. This means we can believe them in their roles, particularly lovely Donna Reed, in an early major film role. Her character, the niece of the original painter Basil, is not in the original novel and seems to be added to the film for romantic and redeeming purposes. She, as Gladys, is Dorian's one pure love amidst all the darkness of his deeds- truly a 'shining light' for the man.
Beautifully photographed in black-and-white, although Lewin also takes advantage of the Technicolour process in the sequences involving Dorian's portrait. Colour tinting was applied to the close-up shots of Gray's likeness for a startling effect. It definitely works, and is a memorable effect.
There are some problems with pacing in the film. Towards the end, the film starts to drag horribly and becomes very talky. Perhaps a 5-10 minute cut would have benefited the production. The acting is occasionally stilted, but is redeemed by the wonderful dialogue pulled from Wilde's original work.
8/10.
The unknown Hurd Hatfield is Dorian Gray, a young man of beautiful appearance. The casting of Hatfield as Gray was a stroke of genius by the casting director. Hatfield is eerie and porcelain-like in his features, conjuring images of unreal male beauty. After his friend Basil paints his portrait, Dorian Gray makes a selfish wish which will haunt him for ever-
'If only it was the picture who was to grow old, and I remain young. There's nothing in the world I wouldn't give for that. Yes, I would give even my soul for it'.
Dorian does indeed sell his soul for eternal youth, engaging in a life of corruption and foul deeds under the influence of Lord Henry Wotton (George Sanders, who seems born to play this role). From jilting his fiancé, the actress Sibyl Vane (a very young Angela Lansbury), and effectively causing her suicide, to murdering a close friend and engaging in loose behaviour with young men (this is only barely hinted at, due to the Hayes Code), Dorian still retains his youthful looks. However, his portrait, as he fatefully wished, reflects his true behaviour. It has grown ugly and twisted, old before it's time, and Gray is compelled to hide the evidence of his dark deeds.
Wilde's tale is fascinating, and richly told on screen. The production certainly benefits from the lack of star power. Indeed, at the time of release, Sanders was the only real 'star'- the rest were up-and-coming, relatively unknown actors. This means we can believe them in their roles, particularly lovely Donna Reed, in an early major film role. Her character, the niece of the original painter Basil, is not in the original novel and seems to be added to the film for romantic and redeeming purposes. She, as Gladys, is Dorian's one pure love amidst all the darkness of his deeds- truly a 'shining light' for the man.
Beautifully photographed in black-and-white, although Lewin also takes advantage of the Technicolour process in the sequences involving Dorian's portrait. Colour tinting was applied to the close-up shots of Gray's likeness for a startling effect. It definitely works, and is a memorable effect.
There are some problems with pacing in the film. Towards the end, the film starts to drag horribly and becomes very talky. Perhaps a 5-10 minute cut would have benefited the production. The acting is occasionally stilted, but is redeemed by the wonderful dialogue pulled from Wilde's original work.
8/10.