El retrato de Dorian Gray

Hurd Hatfield sells his soul so that his portrait ages and reflects his evil while he stays young in "The Picture of Dorian Gray," based on the classic novel by Oscar Wilde. The film also stars George Sanders, Angela Lansbury, Donna Reed, and Peter Lawford. After wishing to stay young forever and falling prey to the words of a cynical friend, Gray goes against what might have been a decent nature and embarks on a vicious life that brings cruelty, sadness, and even death to those with whom he interacts.

The film is striking for several reasons: There is very little of what one would call action; many scenes are quite short; the film relies heavily on narration; the leading man's face remains impassive throughout. This could have been a recipe for disaster, but instead, "The Picture of Dorian Gray" is an extremely compelling film. This sumptuous production is meticulously photographed, with wonderful use of shadows which help create a dark atmosphere. The performances are excellent, particularly those of a very young Angela Lansbury and George Sanders. Peter Lawford and Donna Reed are the beautiful young things who don't have to depend on a portrait for youth.

Hurd Hatfield surely had one of the strangest faces in film - he certainly looked the part of a young, almost pretty Englishman, with his unlined face, high cheekbones, and full lips. As the role dictates, he was appropriately detached and lacking emotion. Six or seven years earlier, this role would have been perfect for Tyrone Power, who would have imbued it with more charm - making the evil inside Dorian all the more difficult to accept among his friends, and thus, his true personality would have seemed more treacherous. Given the way Hatfield played it, I had no problem believing he was capable of anything, and wondered why his friends didn't buy the nasty rumors.

As for the portrait - what a concept. Would that we all had one in our closets. It would put plastic surgeons out of business.

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.

This film adaptation of Wilde's story is certainly one of the great atmospheric black and white films of the 40's. Reminiscent of Greg Toland's ground breaking deep focus cinematography in "Citizen Kane",the shades of black, greys and whites are sharp and clearly deliniated to produce an unforgettable, somewhat eerie look to the film. There are a couple of short Technicolor shots that will make you jump. Cinematography is the star here but let's talk about Hurd Hatfield. I have seen this film on numerous occasions and have yet to figure out whether Hatfield is a great actor or just a woodenly inanimate object. Whichever is the case, this is the role of a lifetime.....it calls for an unfeeling, blank-faced characterization which is exactly as Hatfield played it. His smooth unlined visage hides many things and his apparent lack of emoting is right on target. Does that mean that he just couldn't act and fell into a role that suited his style or does it mean that he rose to the task and his interpretation was the sign of a great actor, living the part. I don't know....all I do know is that he pulls it off with great panache! He was playing against one of the great scene stealers of all times, George Sanders, who spouts Wilde epigrams with his own inimitable class and Hatfield holds his own. The other players are adequate but I don't know what all the excitement is about Angela Lansbury's acting....she was much better in "Gaslight". All in all, this is a movie that I would recommend but beware....it moves slowly, very slowly. Once you see it maybe you can answer the question about Hurd Hatfield's acting.....or maybe not!!!

Based on a story by Oscar Wilde, The Picture of Dorian Gray tells the story of a man that sells his soul for eternal youth. After having his portrait done, Dorian Gray, under the influence of the eloquent Lord Henry Wotton, wishes for the picture to age instead of him so that he may be blessed with eternal youth. After the death of his wife-to-be, Dorian embarks on a life of pleasure and sins, which don't affect the man in the slightest, but leaves it mark on the portrait which descends into a horrid impression of the handsome young man it's portraying...

This film is fantastically well put together. The acting, directing and writing are all stellar, which make this film one pleasant viewing indeed. The real plaudits for this movie, however, go to the writer of the original novel; Oscar Wilde. The story itself is ingenious. Of course, the idea of selling one's soul had been done before (the German legend, Faust, springs to mind instantly), but never in this way. The portrait itself is a genius idea and it allows us to see the man and the sin as different things. However, through it's ending; it also allows the audience to see that the two are linked, and overall giving a good commentary on body, soul and sin. The story has obvious themes of vanity and the lust for eternal youth entwined within it, both of which are sins in themselves. The main character of Dorian Gray is a man that is a victim of influence, and we can feel for him in that way; but he's also an ugly sinner on the inside, making the audience hate him. This is a strange situation for an audience to be in, and in the end; all that's left for him is indifference.

The film moves slowly, but this is definitely to it's advantage as it allows us to get to know the characters, and if it wasn't for that the horror wouldn't be able to work as it needs our emotional impact to function. The horror in the story is rather subdued, but this is one of the most horrific tales ever told. I think most people will agree that this kind of horror - the brooding, personal kind - is much more horrifying than anything that men with knives and any amount of jumpy moments can muster.

The key word for this movie is elegance. The cast move through sumptuous sets with the males dressed in immaculately tailored dress suits and the women exquisitely gowned. It seems that all the aristocrats lived in homes the size of Buckingham palace with high ceilinged rooms and magnificent staircases. They exchange Oscar Wilde epigrams in the cultured tones of the British upper classes.

Some great performances. Hurd Hatfield, an extremely handsome actor with a limited range ,gives the best one of his career as does George Sanders as the cynical Lord Henry Wotton, and a young Angela Lansbury is very moving (especially when she sings "The Little Yellow Bird").

One (very small) criticism. The color shots of the Dorian Gray portrait showing his degradation don't match the high standards of the rest of the design, they look more like pages from a horror comic. I think the producer's, with their obviously high budget, could have used a more imaginative artist.

As I say a small criticism. This a great film of psychological horror.