Moustroll Good movie but grossly overrated

Matialth Good concept, poorly executed.

Reptileenbu Did you people see the same film I saw?

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

JohnHowardReid Copyright 6 March 1945 by Loew's Inc. Presented by Metro-Goldwyn- Mayer. New York release at the Capitol: 1 March 1945. U.S. release: June 1945. U.K. release: 11 June 1945. Australian release: 6 September 1945. Sydney release at the Liberty: 2 August 1945. 11 reels. 9,886 feet. 110 minutes.SYNOPSIS: Portrait grows old and vicious, while subject remains young and innocent.NOTES: Stradling won the year's most prestigious prize for Best Cinematography (black-and-white). Lansbury was nominated for Best Supporting Actress, but voters preferred Anne Revere in "National Velvet". The art directors were also nominated, but passed over in favor of the sets designed by A. Roland Fields for "Blood on the Sun". (That was actually fortunate because Cedric Gibbons, although nominated, had absolutely nothing to do with the movie. The supervising art director was actually Gordon Wiles). Moyna Macgill, who plays the Duchess of Harley in our film, was Angela Lansbury's mother. Negative cost: $1,800,000. Initial world- wide rental gross: Exceeding $3,000,000.COMMENT: Most literary classics and near-classics translate rather stodgily to the screen, no matter how faithful the adaptation. Oscar Wilde's famed and fancy morality legend, The Picture of Dorian Gray, is an exception. Its epigrams speak even more sharply than they read, and its dramatic emphasis is vividly visual. So no-one was more suited to bring Oscar Wilde's Dorian Gray to the screen than Albert Lewin. For whether by coincidence or design, Lewin's technique is in complete sympathy with Wilde's.Wilde's novel might be described as an exercise in highly wrought, sensuous description — therein lies its chief interest. When these printed descriptions are realized in visual terms on the screen, however, they cannot in themselves continually hold the interest of an audience. The screenplay of its very nature must throw the emphasis, not only on the sets, but on the characters and plot.To portray his screen characters, Lewin has assembled a well- nigh perfect cast: As Lord Henry Wotton, George Sanders luxuriates in the cadenced measures of Oscar Wilde's prose. His diction is cut to the pattern of the part, and if he speaks the words too hurriedly at times it is only because Wilde's tempo is not keyed to a motion picture timetable. Hurd Hatfield succeeds in the almost impossible task of conveying the twisted character of Dorian Gray, without actually being able to show on his face the ravages of his soul. Lowell Gilmore brings the wooden virtues of the portraitist, Basil Hallward, to life, and Angela Lansbury gives touching reality to the part of the innocent young actress (who is a songstress for the purposes of the film), Sibyl Vane.As a director, Lewin is extremely sophisticated. His highly individual style makes no concessions to either popular or critical expectations.Another element that proves Lewin's complete control is his fantastic editing. Say George Sanders is speaking. We will see him first in long shot, with his back to the camera. Suddenly we see his face in close-up. Cutting from long shot to close-up in this way is certainly unusual, but it's a device which engenders dramatic force. Cutting from a person's back to his face produces a similar effect. The combination of these two devices is startling, to say the least. And Lewin does this all the time. To achieve suspense, Lewin cleverly forestalls a view of the painting, while continually reminding us of its horrible significance. When at last, after careful and scrupulous preparation, the portrait is brought into view, Lewin ensures that an anti-climax is not effected, by photographing the portrait in Technicolor, whereas the rest of the film is in black-and-white.Lewin's "Dorian Gray" is the perfect adaptation. Not only does Lewin infuse Wilde's characters with cinematic life, he faithfully (and successfully) re-creates the elaborate setting against which they move. Backgrounds vary from the extravagantly spacious, lavishly decorated halls of the rich to the evil slums of Blue Gate Fields — note that marvelous establishing shot which we critics all congratulate ourselves is just a painting until, in a later scene, a character runs clear across it! Note also the significant role that objects d'art and curios play in the pictorial composition, with unusual props like the oculist's sign on the sandwich board and a whole host of small details (Dorian briefly examining a book of Beardsley etchings at the beginning of one scene) which are cleverly controlled to produce an overwhelmingly suffocating atmosphere of Yellow Book decadence. Symbolism also plays a key part in the pictorial composition. The film is laced through with captive butterflies, sinister knives, suggestive toys, and a handsome Egyptian bronze cat that serves as a kind of evil leit-motif."The Picture of Dorian Gray" is literally crammed with unforgettable images:— the cool, calculating serene face of Hurd Hatfield allied with his scrupulously clear speaking voice; the painting; George Sanders ribbing a member of parliament; the looming squalor of Blue Gate Hill; above all, Angela Lansbury — wistful, pitiful — bravely singing "Goodbye Little Yellow Bird" in a shower of paper snow.

Hitchcoc This story involves a man who sells his soul for eternal youth. While he stays young, living a profligate life, a portrait done of him begins to age and show the signs of the decadence he has been living. The story is about his ability to do the evil things that take place when one has no boundaries. George Sanders, an actor of a kind of dry wit, is his friend who observes the odd things that are going on. Dorian Gray abuses women who trust him, casting them aside. He is handsome and utterly evil. The acting of Hatfield, Sanders, Angela Lansbury, and Donna Reed add to this finely tuned film. The conclusion is striking. The concept has been borrowed from so many time. By the way, if you are reading this, get a copy of the book. With Oscar Wilde, the movie never captures the incredible wit of the author.

JLRMovieReviews Oscar Wilde's bizarre story is brought vividly to life in this film of the same name, "The Picture of Dorian Gray." Hurd Hatfield is the man in question who wishes to retain his young looks while his portrait ages. While making his wish in the artist's house, a small statue of an ancient Egyptian cat with supposed supernatural powers close by him grants his wish. The forthcoming plot shows how Hurd goes through life affecting those around him negatively and how it changes his inner soul, all the while it is being reflected in the portrait. George Sanders is an acquaintance of Dorian's and the artist and is there while the wish is granted. George is all the time making generalizations about life, love, and women (witticisms when George Sanders say them) and in doing so displays his brusque cynicism; in short, he's a cad, and Sanders is in his element, stealing all the scenes he's in. But this film is exquisite in style, storytelling, and in capturing the time and place. Angela Lansbury costars and gives a very moving and memorable performance. Peter Lawford and Donna Reed also star, but they are given very little to do. No matter, because this is another example of how they just don't make movies like they used to. Winner of a cinematography Oscar, "The Picture of Dorian Gray" is an involved, intricate and intelligent film movie experience. Not to be dismissed as just a horror classic, this is a film classic for all those who enjoy good old-fashioned films.

gavin6942 A corrupt young man (Hurd Hatfield) somehow keeps his youthful beauty, but a special painting gradually reveals his inner ugliness to all.As with all classic literature, numerous version of the Dorian Gray story exist. And also like classic literature, the best versions seem to have arrived early on. Much like David Lean's versions of Dickens, this 1945 version of Dorian Gray could probably never be equaled. It just has the look about it that only films of the day could have.Quite interestingly, the lead is played by Hurd Hatfield, whom I had never heard of before. One of the stars is Angela Lansbury, who in hindsight is probably the biggest name associated with the film. We are blessed that she offered her thoughts to an audio commentary.