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The Importance of Being Earnest (2002)

6.9
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Ratings: 6.9/10 from 16,699 users   Metascore: 60/100
Reviews: 139 user | 103 critic | 30 from Metacritic.com

In 1890s London, two friends use the same pseudonym ("Ernest") for their on-the-sly activities. Hilarity ensues.

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Title: The Importance of Being Earnest (2002)

The Importance of Being Earnest (2002) on IMDb 6.9/10

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An all-black version of Oscar Wilde's play.

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Cast

Cast overview, first billed only:
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Charles Kay ...
Cyril Shaps ...
Pew Opener
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Dowager
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Guy Bensley ...
Christina Robert ...
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Storyline

Two young gentlemen living in 1890's England use the same pseudonym ("Ernest") on the sly, which is fine until they both fall in love with women using that name, which leads to a comedy of mistaken identities... Written by arson83

Plot Summary | Add Synopsis

Taglines:

Everybody Loves Ernest... But Nobody's Quite Sure Who He Really Is.

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG for mild sensuality | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

| |  »

Country:

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Language:

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Release Date:

6 September 2002 (UK)  »

Also Known As:

Ernst sein ist alles  »

Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend:

$181,591 (Germany) (13 September 2002)

Gross:

£3,059,026 (UK) (11 October 2002)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The scenes where Rupert Everett slaps Colin Firth on his rear end and where Everett kisses Firth's cheek were ad libs. Director Oliver Parker thought Firth's stunned reaction was so humorous he decided to leave them in. See more »

Goofs

During Cecily and Gwendolyn's outdoor tea, Cecily cuts a large slice of cake that is served to Gwendolyn and placed on the corner of the tea table. After the cake is cut, the scene clearly cuts ahead to the end of the tea. In the time that elapsed during this part of the scene, a servant easily could have come by and taken the plate explaining why in subsequent shots with both Cecily and Gwendolyn and later, when Jack and Algernon take the ladies' seats at the tea table, the cake and its plate are missing. See more »

Quotes

Algy: Did you hear what I was playing, Lane?
Lane: I didn't think it polite to listen, Sir.
See more »

Crazy Credits

After the funeral for Bunbury, Colin Firth's Earnest is seen getting a tattoo of "Gwendolyn" on his posterior See more »

Connections

Version of The Importance of Being Earnest (1932) See more »

Soundtracks

Lady Come Down
Music written by Charlie Mole
Lyrics by Oscar Wilde
Performed by Colin Firth and Rupert Everett
Courtesy of Fragile Music Ltd.
See more »

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User Reviews

 
The dumbing-down of Oscar Wilde
29 May 2002 | by (Ottawa, Canada) – See all my reviews



Years ago I read a satirical piece by Fran Lebowitz in which she formulated the ultimate put-down for a young man whose intelligence, or lack of same, had inspired her displeasure. He was, she said, the sort of person whose lips moved while he watched television. It's a wicked slight, but I confess to thinking that Oliver Parker might have had that very fellow in mind when he butchered Oscar Wilde's brilliant play to make this awful film.

And it's really too bad, because the portents for the production were - on the surface at least - very good. You start with a great play by a great writer, who was also a great humorist. It's probable that only Shakespeare penned more quotable lines than Oscar Wilde did. And even Shakespeare probably did not write so many that were funny. The cast choices also looked good: Colin Firth and Rupert Everett as the male leads, the two false "Ernests"; the formidable Judi Dench as the even more formidable Lady Bracknell; Frances O'Connor as Gwendolen Fairfax; and Reese Witherspoon as Cecily Cardew - Witherspoon doing a creditable "Gwyneth Paltrow" turn with an English accent.

A bankable American star appears to be a standard requirement these days when presenting an essentially British production to viewers on this side of the Pond. Otherwise, so the illogic apparently goes, few people "over here" would turn up to see it. Of course, James Ivory did very well a decade ago with superb films like "Howard's End", and with nary an American star in sight. One supposes that Parker can be forgiven for overlooking that fact: after all, he was preoccupied with revving up the editorial chainsaw to dismember Wilde's text.

The problem with Parker's approach to the play is that Wilde wrote specifically for the theatre. Language was his tool, and few writers have used language half so brilliantly. "The Importance Of Being Earnest" is a drawing-room comedy, one of the best in the repertoire, a very funny, extremely literate play about manners, attitudes and conventions in Victorian England. It's a clever and tightly integrated work, a small masterpiece, where dialogue begets more dialogue, wry observations and witticisms proliferate, all of them ultimately spun into a seamless satirical whole.

That's not to say that Wilde can't be made into a "motion" picture. Three years ago, Parker did a creditable, if slightly sappy job on "An Ideal Husband". Perhaps buoyed by that modest success, he felt he could take Wilde

  • through "The Importance Of Being Earnest" - to a new level. And he has.


Unfortunately, the place he has taken it is so far below theatrical sea-level that oxygen is required for basic survival. In hacking the text to ribbons - it seems that almost half of the dialogue has been discarded - he has so compromised the context of the piece that the end result is almost incomprehensible. Think of it as the ultimate dumbing-down of Oscar Wilde.

A short list of items in the film that are astonishingly un-funny. Gwendolen Fairfax having "Ernest" tattooed on her ass in a disreputable London district. Algernon Moncrieff arriving at Jack Worthing's country estate in a hot-air balloon. Algernon leaping in and out of carriages, and climbing through windows, and scurrying down alleyways to avoid his herds of creditors. Algernon spitting food all over himself when he meets Jack at the country house. Algernon and Jack in a wrestling match over a plate of muffins. Jack having Gwendolen's name tattooed on his ass as the credits roll by at the end of the film.

Urgent memo to Oliver Parker: Oscar Wilde is not about slapstick.

It was suggested in an earlier comment on IMDB that if you've never seen the play, as written, you might find Parker's film amusing; but if you have seen the play, you probably won't. That's good advice. Happily, the original 1952 film is available on VHS, and will soon be available on DVD. It was directed by Anthony Asquith. Wisely, Asquith kept his film solidly within the theatre's embrace, even starting the piece with a curtain rising before an invisible audience. And he had an English cast that was to die for - Michael Redgrave, Michael Denison, Joan Geeenwood, Dorothy Tutin, Margaret Rutherford, Miles Malleson. Asquith produced a brilliant film, a triumph of intelligence, style and taste, everything that Wilde and his admirers could have wished it to be - and everything that Parker's film is not.

A final note. Shortly after the film was released, Colin Firth gave an interview that was published in The Globe & Mail, a major Canadian newspaper out of Toronto. In the interview, Firth lamented that he lived in a society
  • England - that pretended to be literate, but in fact was not. The irony


implicit in his comment is almost too delicious. I'm certain that Oscar Wilde would have loved it.


61 of 100 people found this review helpful.  Was this review helpful to you?

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