In this version of Oscar Wilde's tale, Dorian Gray is an actress who, desperate to become a worldwide star, makes a deal that switches her soul to her image on film, then proceeds to sleep ... See full summary »
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
Writer Georges Duroy (George Sanders) is one social-climbing S.O.B. who does most of his climbing over the warm (and cold) bodies of women. He begins with Rachel (Marie Wilson), a hanger-on... See full summary »
In 1886, in the Victorian London, the corrupt Lord Henry Wotton meets the pure Dorian Gray posing for talented painter Basil Hallward. Basil paints Dorian's portrait and gives the beautiful painting and an Egyptian sculpture of a cat to him while Henry corrupts his mind and soul telling that Dorian should seek pleasure in life. Dorian wishes that his portrait could age instead of him. Dorian goes to a side show in the Two Turtles in the poor neighborhood of London and he falls in love with the singer Sibyl Vane. Dorian decides to get married with her and tells to Lord Henry that convinces him to test the honor of Sibyl. Dorian Gray leaves Sibyl and travels abroad and when he returns to London, Lord Henry tells him that Sibyl committed suicide for love. Along the years, Dorian's friends age while he is still the same, but his picture discloses his evilness and corruptive life. Can he still have salvation or is his soul trapped in the doomed painting? Written by
Claudio Carvalho, Rio de Janeiro, Brazil
According to Angela Lansbury, a friend of hers, Michael Dyne, was considered for Dorian. Dyne suggested Lansbury for the role of Sybil Vane. The casting director liked her for the part and suggested her to George Cukor for Gaslight (1944). She saw both Cukor and Albert Lewin the same day and was cast for her first two films. See more »
Adrian's chalk sketch of Dorian Gray on the table changes from shot to shot. See more »
A timeless piece -- Black and White classics with touches of color. It's about the mystery of living.
It is a mystery. Or is it mind over matter? The power of a mysterious painting depicted in this timeless tale of Oscar Wilde's imagination -- probing the depth of life's meaning.
It's costume drama, story began in London 1886. Definitely has an element of intrigue -- "a painting with a life of its own". It's eerie. It's dramatic. Its theme is scary. Such is a "deadly" wish of the main character, Dorian Gray: "If only the picture (a portrait of Dorian Gray) can change, and I can always be as I am now. I'd give my soul for that." Dorian Gray's obsession with youth became eternal youth.
Imagine that as time goes by, he will always stay the same rich attractive young man that he is -- never grow old, while the picture will take on the changes -- his soul and character. Conscience, no longer he has -- the picture took it on. The story describes how Dorian Gray spends his life henceforth and the consequences that entail.
A very young Angela Lansbury, after her debut in George Cuckor's 1944 "Gaslight", portrays the innocent young actress Sibyl Vane from the poor side of town. The bet between the characters of George Sanders and Hurd Hatfield brought to mind the cruel intentions of Neil LaBute's 1997 "In the Company of Men". George Sanders is the cynical callous Lord Henry Wotton. The events all happen in a seemingly civil manner, immersed in the society of the rich. Have and have-nots are juxtaposed.
The film is essentially in Black and White, with only the specific content of the picture of Dorian Gray in color when we see it through Dorian's eyes.
It's another B/W classics gem, well-cut and impeccably presented. It encompasses sentiments and all elements: mystery, intrigue, love lost, friendships, regrets, and fear. Dorian Gray with a tormented inside -- pining for the return of his soul. Is this the Devil's advocate? You see no hell depicted as in Vincent Ward's 1998 "What Dreams May Come", or Woody Allen's 1997 "Deconstructing Harry" or Taylor Hackford's 1998 "The Devil's Advocate". No glamorous, elaborate take on the Devil, but the atmosphere provided that suggestion. There's no special effects, yet you can feel the twistedness: a man asking for help within yet unable to help himself because he's a lost soul. The temperature of the movie seems like being in 10 degree Celsius -- cold in sentiment and tone. There was a glimmer of warmth -- it flickered and faded with the innocent Sibyl Vane character.
The subject matter is timeless even though the film was made in 1945. The story is fascinating in spite of the pace which may not be at breakneck speed as in today's action packed, sound effects filled movies.
You can say it's pseudo sci-fi -- a foreboding tale it is. By and by, Dorian Gray's unchanging mask-like face reminds me of "Mr. Sardonicus" (William Castle's 1961). His behaviors are no longer placid -- gradually turning into hideous evils. This film questions one's probity. The mystery of life is to live it not to attain immortality. How uninteresting it'd be to be changeless and ageless? (John Boorman's 1974 sci-fi "Zardoz" with Sean Connery and Charlotte Rampling came to mind). Growth and change are intrinsic elements of life. Life and death go hand in hand cyclically. A truly worthwhile effort from writer/director Albert Lewin.
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