nicola_sloan
Posts: 1
Joined: 15/9/2009
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A nicely dark, moody and atmospheric adaptation of Oscar Wilde’s 1895 novel. Unfortunately Colin Firth’s Lord Henry Wotton comes across as sinister and slightly pervy rather than charming and witty as he does in the novel. The lines are delivered too bluntly and lose all their subtlety. This is not the only thing that’s blunt about this movie. The nature of Dorian’s sins and degradation is made clear in the film, whereas in the book it is only hinted at. His ’is he, isn’t he?’ homosexual side in the book becomes a definite ‘yes’ in the film. Both men and women, in fact, become the victims of Dorian’s decadent desires. But the more graphic nature of the film when compared with the book is to be expected in a modern adaptation, and does not spoil the story. The future Wilde could never have imagined as Dorian grows older, of cars, trains and WWI, fits neatly as a backdrop as the plot develops. There is possible renunciation for Dorian in his love for Henry’s daughter, but there is by no means a happy ending in this film. The horror side of the novel is brought out very strongly in the film. The portrait of Dorian, with which he has exchanged his soul, writhes with maggots and leers menacingly at the beholder as Dorian’s soul becomes more and more corrupted. In a film concerned with vanity, it is natural that mirrors should play a significant part. Basil, the artist who painted Dorian’s portrait, is stabbed to death by Dorian with a shard of glass from a broken mirror: yet another victim of Dorian’s broken and corrupted soul. It is interesting that near the beginning of the movie Dorian’s portrait is hung opposite that of his violent grandfather, of whom he often has flashbacks. Since the ‘poisonous book’ of the novel has been removed from the plotline of the movie, this seems to suggest that Dorian has grown to ’mirror’ his grandfather, making the influen
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