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The Picture of Dorian Gray

The Picture of Dorian Gray (1945)

March. 03,1945
|
7.5
|
NR
| Fantasy Drama Horror

Posing for a portrait, Dorian Gray talks with Lord Henry Wotton, who says that men should pursue their sensual longings, but laments that only the young get to do so. Taken with the idea, Dorian imagines a scenario in which the painting will age as he stays youthful. His wish comes true, and his boyish looks aid him as he indulges his every whim. But when a stunning revelation forces him to see what he's become, Dorian faces some very dangerous questions.

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Dotsthavesp
1945/03/03

I wanted to but couldn't!

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Quiet Muffin
1945/03/04

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

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Philippa
1945/03/05

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

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Janis
1945/03/06

One of the most extraordinary films you will see this year. Take that as you want.

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Coventry
1945/03/07

Oscar Wilde's novel was one of the most convoluted but simultaneously fascinating and original stories I ever read, and it immediately made me suspect that a good or even half-decent film adaptation simply wouldn't be possible. But here we have a genuine Hollywood rarity; - namely a film version that is both respectful and doing justice to the source material! After having seen this 1945 version, directed by the extremely underrated director Albert Lewin, I don't think I can ever watch any of the numerous film versions that were released since. They just cannot be as good, period. Admittedly you must be in specific sort of mood to watch a film like this. "The Picture of Dorian Gray" is slow-paced, patiently taking its time to introduce the lead characters and even additionally clarifying the events via a stern voiceover. There's hardly any action or excitement, but it thrives for 200% on unsettling atmosphere and sublime performances of the stellar cast members whom almost literally melt together with their characters. The plot is an intelligent variation on the Faust theme. As soon as his close friend Basil finished his impressive portrait, young aristocrat Dorian Gray openly wishes to exchange his soul for eternal youth and power. Wouldn't it be wonderful if, instead of himself, his portrait would carry the consequences of Dorian's natural aging process and his lush escapades? This simply but highly efficient concept is brilliantly elaborated over a span of twenty years, with Dorian Gray slowly but surely descending deeper into corruption. Lewin also creates a magnificent Victorian atmosphere, with lavish turn-of-the-century decors and beautiful cinematography. Hurd Hatfield is fantastic as Gray; a stylish and sophisticated devil in disguise. Angela Lansbury and Donna Reed are breathtaking beauties with great acting talents, but the show is unmistakably stolen once more by George Sanders. Even though his role as Lordy Henry is, strictly seen, quite irrelevant, Sanders nevertheless draws all the attention to him. Sanders truly was one of the greatest and most fascinating, but sadly underrated, actors in history.

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JohnHowardReid
1945/03/08

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.

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TheLittleSongbird
1945/03/09

Like 'The Importance of Being Earnest', Oscar Wilde's only novel 'The Picture of Dorian Grey' is one of his most famous works for very good reason. It is philosophical essentially in nature, but also very chilling, dripping in atmosphere and full of Wilde's sparkling wit.This 1945 film adaptation had so much going for it, with the involvement of great actors like George Sanders and Angela Lansbury for one thing. 72 years on, it's still one of the best overall versions of 'The Picture of Dorian Grey' there is/. Surprisingly, for film adaptations of classic literature made in the "classic era" it's pretty faithful, but 'The Picture of Dorian Grey' (1945) is actually even more successful on its own terms.It may not be flawless, but it comes close. Donna Reed's character feels very tacked on and Reed, despite looking radiant, looks, sounds and acts out of place. Peter Lawford, in an admittedly limited role, spends his entire screen time looking bewildered and like he had little idea what to do with what he had.Don't on the other hand let the pacing put you off. It is deliberate and measured, but to me it was never dull or too slow. The atmosphere, the performances and Wilde's dialogue were instrumental in making the film compelling and they shine brilliantly.Visually, 'The Picture of Dorian Grey' (1945) is notably striking. As elegant as the costumes are, how classy and moodily atmospheric the lighting is and how sumptuous the Gothic set design is, it's the outstanding cinematography (that enhances everything so much) that's the star. The music score is resolutely haunting, also with inspired use of Beethoven, Mozart and Chopin, and the direction has immense sophisticated style.Wilde's writing shines firmly to the fore as one would expect, some great lines that have full impact. Even with more measured pacing, the storytelling is rich in chilling atmosphere and class with the impact of the portrait having a truly startling effect.All the acting is very strong and one of 'The Picture of Dorian Grey's' best elements. Sanders has the best lines (classic Wilde witticisms and cynical but witty observations) and the most interesting character (like a human Mephistopheles Oscar Wilde-style), and Sanders' performance is very like his Oscar-winning performance in 'All About Eve' five years later, a once in a lifetime role that he was born to play and it is difficult to imagine anybody else deliver those lines the way Sanders did so effortlessly. Lansbury is both chirpy and touching, plus she has rarely looked so young or more beautiful, her rendition of "Good Bye Little Yellow Bird" wrenches the heart also.Hurd Hartfield's muted performance may be unimpressive or controversial, and it is easy to overlook him in favour of the juicier supporting roles. To me though, the mute inexpressive quality of his acting added quite vastly to the deceptively chilling nature of the role itself. Lowell Gilmore also stands out.Overall, a near classic and one of the better film adaptations of Wilde's work, if one is looking for elegance, atmosphere and great production values, writing and performances look no further. 9/10 Bethany Cox

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AaronCapenBanner
1945/03/10

Based on the famous novel by Oscar Wilde, this adaptation, set in Victorian London, stars Hurd Hatfield as Dorian Gray, an initially pure but shallow young man who was corrupted by the sinful Lord Henry Wotten(played by George Sanders). Dorian, who has recently had his portrait painted, proclaims upon his soul that he wishes that the picture would show all his aging and inner ugliness, so that he will be forever youthful. This would come at a high price, as indeed it is true that the portrait does become more hideous over time, which requires that it be hidden from view. Dorian must eventually come up with excuses and stories to explain why he doesn't age, while his contemporaries all do, leading to suspicions which must be dealt with... Effective filming of this clever story with a good cast and direction, and memorable unveiling of the portrait itself, which is quite scary(and seen in color). Angela Lansbury has a key supporting role here as an early victim of Dorian's wickedness. Not really a horror film as such, and quite talky, yet also fascinating.

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