Pacionsbo Absolutely Fantastic

Cleveronix A different way of telling a story

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

MARIO GAUCI Just as R.L. Stevenson's quintessential dual-personality tale was revamped by Hammer as DR. JEKYLL AND SISTER HYDE (1971), it was not inconceivable that Oscar Wilde's similar narrative would be rethought on distaff lines. The result is quite tolerable under the circumstances but, emanating from the Rankin/Bass stable (renowned for animated kiddie fare!), it was deemed to have merely scraped the surface of what was basically a critique of the moral decay overtaking Victorian society (epitomized by the notorious Jack The Ripper killings). Not unexpectedly, then, the theme of the novel was updated to contemporary times and transposed to the glitzy fashion world of L.A. (making the whole feel rather like a typical "Emmanuelle" entry but without the copious nudity!): here, the protagonist becomes a modeling celebrity but, unwisely, the all-important "picture" is made out to be screen-test footage, cue unconvincing make-up effects to illustrate its increasing degeneration and, played over and over during the course of the movie, it proves quite enervating! Therein, however, lays its major problem: since the plot is supposed to unfold in the space of 30 years, the look (sets, costumes, hairstyles) throughout never changes to reflect this passage of time, which history books attest to having been pretty considerable! Anyway, the film essentially rests on the shoulders of its variable cast – led by Anthony Perkins in the Lord Henry Wotton persona (creatively redubbed Henry Lord!) and Belinda Bauer (not too bad considering, but perhaps managing best the bitchy aspects of the title role, and which would subsequently typecast her!). Olga Karlatos appears as Perkins' wife and rival(!) for Dorian's services (and affections?), Joseph Bottoms the pseudo-singer/pianist who captures her heart if only for a little while (precipitating his suicide) and Michael Ironside is the photographer eventually reduced to 'cleaning up' after her. For what it is worth, we are even treated to a cheesy title song which, again, is picked up ad nauseam along the way!

mosquitor A beautiful modernized version of the Oscar Wilde classic, in which Belinda Bauer gives a moving and poignant performance as the title character, here a female model led astray by the temptations of evil in a sharp allegory of the real-life corruption of celebrity culture and the rich and famous. Anthony Perkins also gives a memorable performance as Henry Lord, the movie's answer to Wilde's legendary Lord Henry Wotton, here a fashion tycoon who takes advantage of Dorian's youthful naivety to seduce her into his corrupt view of life. Despite the modern setting, the storyline's structure is surprisingly close to Wilde's original novel with almost every character, major and minor, given a modern-day equivalent in the narrative. Dorian's gradual descent into total corruption and malevolence is depicted perfectly, as is the eventual destruction of the world and people around her.A haunting, eerie and dreamlike atmosphere prevails throughout the movie, and the film's answer to the novel's portrait- a screen test on a gigantic screen that grows more repulsive with each sin Dorian commits- is genuinely creepy and disturbing. The beautiful and haunting theme song, sung exquisitely by Lisa D'Albello, is truly stunning and enhances the film's captivating atmosphere perfectly. As each cast member turns in an excellent performance, the film should have the viewer literally on the edge of their seat as it approaches its destructive climax, ending of course on a tragic note that strangely leaves us feeling somehow more sorry for the debased Dorian, and even for Henry (who seems to have mellowed from his corrupt ways after witnessing Dorian's decline), than in the novel.While some viewers may naturally object to the radical shift in style from Wilde's classic, along with the feminization and thus heterosexualization of the lead character, and of course the absence of Wilde's legendary quotes, this should not dissuade anyone from viewing the film, which is executed as perfectly as could have been possible. Although the film was made for the big screen, it was unfortunately only ever shown on TV due to lack of interest and is virtually unknown to this day. This is a shame, for The Sins of Dorian Gray is a truly beautiful, moving and haunting film that ranks easily among the best ever filmic interpretations of Wilde's novel. A true overlooked work of beauty that should not be missed.

anubis-45 I have always admired the work of Oscar Wilde, and 'The Picture of Dorian Gray' has been one of my favourite examples of his work, since I read it at about aged 12.It has been made into films a few times, with varying degrees of success.The earlier 1945 film version with Hurd Hatfield and George Sanders was the epitome, in my opinion, and has yet to be equalled.This 1980's TV-movie version is another attempt, and is certainly off-beat. It moves the tale up into the (late) 20th century, and this poses some stretching of the imagination when it comes to the characters, although it would have made location shooting a lot simpler....In this version, the most obvious deviation was the choice of making Dorian a female, played quite well by the gorgeous Belinda Bauer, who we had seen earlier, in 'Archer, Fugitive of the Empire'.In this case, the 'picture' of Dorian is a film screen test on celluloid that she makes at the beginning, and after she makes her wish for eternal youth and beauty, she feels that she must secrete this film away, and protect it, so that no ill will happen to her.After this, she goes off and seduces whomever she fancies, drinks and parties just as she wishes, while the cine film slowly assumes the ageing and the scars of her debauchery. Meanwhile, all her friends and colleagues around her age at their natural paces, and they cannot believe that Dorian is still young and beautiful.Occasionally, she sets up the projector, and in the privacy of her own home, plays the screen test. In each subsequent re-playing, her image is noticeably older and more depraved looking. Towards the end, the image is almost unbelievably ugly and dishevelled, and this of course, brings things to a head, as expected.I found the film to be completely likable, and the characters were good to watch, although a little contrived. Never mind, this IS a B-grade TV movie.Anthony Perkins plays Anthony Perkins to a tee in this one....you just sit there, waiting for the Norman Bates character to appear, but it doesn't. It's one of his 'goodie' roles.....I still have this on Beta (Say What?) tape, and I haven't watched it for about 15 years, so tonight, I'll open a bottle of Cabernet Sauvignon, and run that film just one more time.......for the buzz.And for Belinda..."The Opener of the Way is Waiting"

Victor Field Though this movie's pretty obscure, this little review still contains a slight spoiler."The Sins of Dorian Gray" is one of Rankin/Bass's odd live-action efforts, which sees Oscar Wilde's novel updated to the present and given a sex change - Anthony Perkins notwithstanding, Belinda Bauer plays Dorian, a young woman whose screen test (instead of a portrait) plucks her from obscurity to fame and fortune. But as the years go by and she becomes more twisted and hideous inside while her screen test shows the effects of the years, she resorts to more and more dangerous measures to keep her secret (with particularly unfortunate results for photographer Michael Ironside).Shot in Canada, this isn't nearly as creepy as Dan Curtis's earlier TV adaptation of the novel (which was a more traditional take on the yarn), and the attempt to bring a new take on the ending doesn't quite work.WHICH BRINGS US TO OUR SPOILER.Just as Dorian in the novel brought the spell and his life to an end by stabbing the painting, so Dorian in this movie is driven to stabbing her screen image and killing it and her, but it's less direct and a bit senseless (wouldn't burning the actual reel have been more effective? Although we would have been denied the final shot of the decrepit Dorian lying dead next to the image of how she once was, while the eerie title song plays).END OF SPOILER.Anthony Perkins did, however, make worse movies in his career. And since Heather Locklear doesn't seem to have aged that much since her days on "T.J. Hooker," it makes you wonder...