The Picture of Dorian Gray

The Picture of Dorian Gray

The Picture of Dorian Gray

               Genre: Drama, literature, Fantasy
               Youth, murder, mirrors, Dandy

The two sides of a young man of impeccable form

  Adaptations of the only novel published during his lifetime by Oscar Wilde, the author made his famous overnight, there are many. And since it was the beginning of film history, the first dates from 1915. But little is so dark and close siècle to the black rain romance of the Fin de settled as Oliver Parker’s new edition – and not the first film version of a presentation of the great Irish playwright: in 1999 he had a perfect husband / An Ideal Husband starring Cate Blanchett, Julianne Moore Rupert Everett and filmed, in 2002 was followed by Being Earnest / The Importance of Being Earnest, again with Rupert Everett, Judi Dench, Reese Witherspoon and Colin Firth, who has now taken over in The Picture of Dorian Gray, the role of Lord Henry Wotton. Parker will therefore usually regarded as an expert on Wilde adaptations. The result is well worth seeing, even if recognized experts on the novel by Oscar Wilde, the absence of some passages and important sub-plots will be sorely missed, and just precisely this focus on the spectacular of the story complain that the author with dialogue full of springy lightness in a still Balance was worth reading.

At first glance, based Parker’s film version quite closely to the template: Based in the London of the late 19th Century, this film tells the story of the equally beautiful and naive young man’s Dorian Gray (Ben Barnes), who discovered under the influence of seductively cunning Lord Henry Wotton (Colin Firth), the joys of the nefarious life. Narcissistic he signs a pact with the devil, by Basil Hallward of his (Ben Chaplin) painted portrait ages in his place, while carrying at least outwardly no signs of his excesses. In his quest for sensations and pleasures discourages Dorian at nothing and goes literally over corpses.

As far as is known, and well above all. The devil or the amendments to Oscar Wilde’s book stuck in particular detail: Sun dies Grays mistress Sybil Vane (Rachel Hurd-Wood) in the movie is not like in the book of poison, but goes into the water – as much without question, “cinematic” is . New is also that Lord Henry, the book is still a childless, although married lovers, the film has a subsidiary that acts as a kind of moral authority. Relatively harmless, these subtleties make but from comparison with what The Picture of Dorian Gray distinguished beyond – and is reminiscent of another film in the recent past, which was also dedicated to a famous fictional character from the Victorian era – Sherlock Holmes. Just as Guy Ritchie’s detective from a torn snobs to a rather deranged action hero been converted into and its spiritual greatness at best in fast demonstrates, much is also Parker: instead of witty, but cinematically unspectacular chats, he relies on superb decor, shock effects, and a sprawling imaging of the decadence of his hero, to leave the drastic and ribaldry hardly anything left to be desired. And so, The Picture of Dorian Gray is to be understood even less than minute film version of Wilde’s novel, but rather as a loose homage to squint to a significantly younger audience, that’s not the novel knows.

However, Oliver Parker’s adaptation not a pure work of record values, but also an actor’s film: It is especially Colin Firth, who is currently with his role in A Single Man strongly suggested for further higher orders, which also use this film grafted with his play. His sinister Lord Henry Wotton’s such a charming seducer and destroyer that one has before him all of his pure joy and pleasure, gets to take the book again in the hand. And it was the sole reason, but then to trace the fundamental differences between the novel and its screen adaptation.

(Paul Collmar)
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If you are in the U.S. on the way to the famous Chicago Art Institute “makes stops, and then deals with the impressive collection of American painting, then we will establish not only that the 20th Century as an era without a doubt the Americans heard. No, you will also witness of a particular experience is meant one of the paintings of Ivan Albright, a psychedelic, manic-agile interpretation of Oscar to multiple Wilde’s famous narrative study, The Picture of Dorian Gray, the playwrights, filmmakers, and other experimental apologists interpretations and reinterpretations of the monstrous substance has challenged.

The picture was taken in the context of a tender notice, the Chicago artist Albright was in the 1940s prompted by the filmmaker Albert Lewin, though he would not be prepared, the title theme for his latest film adaptation to paint. Occasion for the artist to create a High-impact image which is full of crude details, murmuring individual moments and iridescent colors – is a painting that may be even now seen as cinematic projection, because due to its unique density and allegory to an incredibly dynamic and irritates unique associative analysis.

to the 14 film adaptations has recently been joined another: Oliver Parker so far only announced for Europe and now in Germany incipient version of the “Dorian Gray” motif. The dramatic points of the act should be known: A well-heeled youth, and representatives of the Victorian upper class, played by Ben Barnes, allows the painter Basil Hallward (Ben Chaplin) make a self-portrait that will capture the flawless beauty of his appearance. The aristocrat and dandy Lord Henry (Colin Firth) is aware of the young esthete and decides to make the initially naive, innocent Dorian subscribed to his personal life project, the incarnation of an aesthetically-hedonischten mind. By relying on the familiar Dorian greed, vanity and self tirades of upper middle class blind. Now spreads slowly in him the desire, his wondrous beauty that it opens access to the finest circles of London, to preserve forever. The magic works: Instead of himself, now bears the ominous painting features of his physical decline. While the picture happily ugly, alarming, even monstrous, will Dorian without sequelae in brothels, enjoying the drunken life and lose all sense of moral sense. In order to guard the secret of his eternal youth, he renounced not only on strong, honest love, but consists also across all forms of human virtue. Yes, even the killing becomes a legitimate strategy for maintaining its crazed hubris. But the increasing Selbstverehrung is associated with mental destruction moments: Dorian Gray is confronted with the eternal life of this world and is consistently down the disadvantages of a restless existence, nothing can beautiful and amusing to reveal more.

In view of Albright’s flamboyant and original pictorial interpretation of this important Dorian Gray motif falls in Oliver Parker’s film all the more evident his deficient character of: The director has a complex secondary lines in Oscar waived Wild subtle study in order to fully concentrate on the exciting and Schockante. Quite clear: wild tale has it all, is the perfect movie material for spectacular productions and still meticulous comment on the equally selbstfixierte contemporary culture. However, the submission raises precisely on other issues that can dissolve less easily in a one-dimensional structured action: why did the director, who has preferred a faithful implementation, including Victorian costumes and antique props own eyes, the slightly bulkier Denkfragmente of the Irish author omitted almost exclusively? How about the debate over mind, homosexuality and psychology? All the reflective, all the subversive missing, so that the film indeed quite able to create tension, but ultimately stumbles into something simplistic and wildly disastrous end. The music, everywhere like an insistent nagging aunt, is cast as creamy sauce over the images to allow any doubt about the emotional inner life of the characters. This is sometimes bad, sometimes annoying. But above all, a missed opportunity, even if – admittedly – is prepared to hold out until the last second in the cinema seat. That Oscar Wilde’s presentation is just too good.

(Tomasz Kurianowicz)

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Title: The Picture of Dorian Gray Original Title: Dorian Gray Country of production: United Kingdom Production year: 2009 Length: ( #) 115 (Min.) Distribution: Concorde Film Distribution

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