The Picture of Dorian Gray on Screen and Stage

It is extraordinary that there should be several silent movies made of Oscar Wilde’s novel, which depends so much on the power of language.

A 1915 version* seems to be the earliest still surviving and available.

Director Eugene Moore chose the right parts of the book to adapt*, including Sybil Vane's appearances in

Shakespeare’s plays, which are left out of most productions. We watch Dorian, who is watching Sybil playing different parts on stage, in a play-within-a-play technique*. The excellent use of mirrors too brings our attention to the theme* of ‘doubles’ in the novel. One aspect which works well on film, is to turn the portrait into a photograph. This makes the changes we see in it more realistic. version (n.) the way in which something appears adapt (v.) change to a new situation technique (n.) a particular method of doing sth. theme (n.) an important idea or subject deep-focus cinematography (n.) when all parts of an image are clear at the same time even the background cast (n.) the people who act in a play or film

He has an English degree from Harvard University and he used to be an English professor.

The 1945 MGM production of the book was filmed mostly in black and white, with bright colours used for Dorian Gray’s portrait. The movie is a pleasure to watch thanks to a decorative Victorian-style set and the deep-focus cinematography* of director Albert Lewin. The result is an intelligent film, rich in detail, with a very good cast*. One interesting fact about the film is that twin brother artists Ivan and Malvin Albright painted the ‘before’ and ‘after’ corruption versions of Dorian’s portrait.

This seems right for a novel about two sides of the same person.

1970 saw Italian Massimo Dallamano direct a film version of Wilde’s novel. The new setting of early 1970s London works well thanks to its extreme fashion styles, and ideas about new social freedom. In general. the film changes little of the original story, apart from the ending which sees Dorian killing himself rather than trying to destroy the painting. Critics had different views about this film. Some thought it was sensationalising* the events of the novel. Others believed that it was making the most of an incredible period of social change, similar to that experienced by the Victorians. Actor Helmut Berger is a suitable choice as the good-looking blond, blue-eyed, Dorian Gray. Unfortunately, Lord Henry, played by Herbert Lom, is very dull because most of his lines containing Wilde’s famous epigrams were removed.

London in the late 1960s and early 1970s was considered a place of progress, experimentation and free love.