The Picture of Dorian Gray (1945)

User Rating:

7.6/10   

Director:

Albert Lewin

Writers:

Oscar Wilde (novel)
Albert E. Lewin (screenplay)

Release Date:

3 March 1945 (USA)

Genre:

Drama | Fantasy | Horror | Romance

Tagline:

His life was a muddy morass into which he dragged all who knew him! Such was Dorian Gray, the man who wanted eternal youth, and bartered his soul to get it!

Plot:

A corrupt young man somehow keeps his youthful beauty, but a special painting gradually reveals his inner ugliness to all.

Plot Keywords:

Portrait | Suicide | Attic | Painting | Portrait Painting

Awards:

Won Oscar. Another 2 wins & 2 nominations

Cast

George Sanders	...	Lord Henry Wotton
Hurd Hatfield	...	Dorian Gray
Donna Reed	...	Gladys Hallward
Angela Lansbury	...	Sibyl Vane
Peter Lawford	...	David Stone
Lowell Gilmore	...	Basil Hallward
Richard Fraser	...	James Vane
Douglas Walton	...	Allen Campbell
Morton Lowry	...	Adrian Singleton
Miles Mander	...	Sir Robert Bentley
Lydia Bilbrook	...	Mrs. Vane
Mary Forbes	...	Lady Agatha
Robert Greig	...	Sir Thomas
Moyna MacGill	...	Duchess
Billy Bevan	...	Malvolio Jones (chairman)

Runtime:

110 min

Country:

USA

Language:

English

Color:

Black and White | Color (Technicolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

Australia:PG | Germany:6 (2006, DVD rating) | Finland:K-16 | Sweden:15 | USA:Unrated

Filming Locations:

Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA

Company:

Metro-Goldwyn-Mayer (MGM)

Trivia:

Ivan Le Lorraine Albright's famous painting of the decayed Dorian Gray - which took approximately one year to complete - is now owned by the Art Institute of Chicago. Albright's twin brother Malvin, better known as a sculptor, was also commissioned to create paintings for the film, although his work went unused.

Goofs:

Continuity: At 34:35 into the film, the time on the clock in the room suddenly changes from just after 2 o'clock to 3 o'clock. At 37:00 it moves back to 2:05 and then to 2:09 as Dorian continues to pay the piano.

Quotes:

Dorian Gray: If only it was the picture who was to grow old, and I remain young. There's nothing in the world I wouldn't give for that. Yes, I would give even my soul for it.

Movie Connections:

Referenced in The Brick Wall Bubble Gum Girl (2008)

Soundtrack:

Youth

Surprisingly Good

It's hard to say what it is about "The Picture of Dorian Gray" that I enjoyed so much, but I did like it. Hurd Hatfield at first seems miscast and ineffective as the titular character, but somewhere around the one hour mark, his one and only expression begins to grow on you until you feel just as unnerved by his presence as those who come in contact with him in the story. George Sanders--from what I've seen--played one character his enter career but played it so well, and his performance in this film is no exception. Angela Lansbury is surprisingly sympathetic as the sad and timid singer. The only one in the cast who really doesn't work is Donna Reed. Her character feels tacked on, and she isn't allowed to do much but look faithful and beautiful.

The film is shot wonderfully, and Harry Stradling's cinematography gives the East End scenes a dark, atmospheric counter balance to the rather plain and flat interiors of Dorian's home. The swinging lamp was a nice touch and reminded me of "Psycho"'s finale.

I suppose my only criticism is toward the end, the story introduced one or two characters without giving them proper context or background (I'm thinking of the Allen Campbell character). I'm assuming Dorian "convinces" him to take part in his plans because of some sort past homosexual tryst, but it seemed unfair to bring him in they way he was, have him serve the role he does, and then disappear so quickly without explanation. And speaking of suggested themes: Is it just me, or could you make an argument that Dorian is Jack the Ripper? Maybe it's actually pretty obvious or maybe I'm just interpreting too much into the story, but that's what I got out of it.

P.S. I had the opportunity to see the actual painting from the film during an Ivan Albright exhibit at the Metropolitan Museum of Art in 1997. It's even more gruesome in person.