Oscar Wilde

Across the decades, cinematic directors have sought to discover the essence of the noted 18th century humorous, poet and playwright Oscar Wilde. Some films shower him with so many accolades, they drown his image in wine and sexual innuendos. Other movies hardly delve into the magical but certainly secret complexity of the talented English writer, using his notorious trial, tribulations and eventual imprisonment as Gris, reducing him to a mere scandalous shell of his life. Perhaps, there are many film versions of Mr. Wilde, but only one stands out which personifies the ideal man. I believe this offering, "Oscar Wilde," (1960) portrayed by enormously talented Robert Morley as the playwright, is the best. True Mr. Morley is such a versatile actor in other films, some would suggest his comic side, or his stuffy, droll demeanor, detract from this impressive writer. I disagree. Despite his inner personal conflicts, Morley exemplifies the quick wit, delightful charm and social elegance befitting the true character of the 18th century cosmopolitan gentleman. Moreley more than adequately depicts the larger than life of Oscar Wilde. Ralph Richardson, plays, Sir Edward Carson the prosecuting attorney who's sole ambition was to destroy the popular writer and his libertine attitudes. Although seeking to protect the upper-class from scandal, his attack was nothing short of evisceral. As one newspaper noted at the trial, the prosecutor was seen to be as objective as a circling shark. All in all, this film is an excellent attempt at epitomizing the historical icon, and is accepted as the very best to-date. ****

Without a doubt, this is the film to see if you are deeply interested in this unconventional and fabulous writer that was Oscar Wilde. Two other films about him were shot: "the Trials of Oscar Wilde" and Brian Gilbert's work in 1997 but they aren't found wanting to Gregory Ratoff's version.

Of course, it's indisputable that Ratoff's film was made with restricted means as the cheap scenery testify. It sometimes gives way to drawbacks like in the very last sequence which shows Wilde after his lost trial sitting at the terrace of a Parisian café and next to him, one can hear a musician playing the accordion. A perfect cliché about France. But it's minor quibble and anyway, given the means Ratoff had at his disposal, was there another way to show the audience that Wilde was in Paris under the pseudonym of Sébastien Melmott? Anyway, one can eminently forget the scenery and admire how Ratoff conceived his film. First, he eschewed many traps of the biopic film including the following one: to relate all Wilde's life from his childhood. He chose to steer his film on the period of his life which began with the relationship Wilde developed with his young protégé Lord Alfred Douglas. In a nutshell, this scandalous love (for the time) was the beginning of the end for the witty writer who fell foul of the chic, posh Victorian society. As everyone knows, homosexuality was banned in this very conservative, ossified society and it could only end up as a trial for Wilde. A trial he could only lose but during which he showed a stalwart courage thanks to his own witty answers. This trial is the pinnacle of the film and Ratoff succeeds in incorporating elements of Wilde's anterior life like the introduction at the outset of his wondrous novel "the Picture of Dorian Gray" (1889). And one can only admire his style to film the evolution of this trial and the verbal exchanges between Wilde and sir Edward Carson. At first, Wilde seems sure of himself and his cues make the audience laugh but bit by bit confidence leaves him as he is dwarfed by dogged Carson's ruthless questions. In the long run, Ratoff weaves a stifling atmosphere and it's impossible not to feel it.

All you have to do is to sit and admire the quality of the dialogs and also of the actors. Robert Morley confers to his main character the wit and wisdom which made Wilde famous. And Ralph Richardson equally delivers a prime performance. But John Neville seems too old for the role Lord Alfred Douglas. In the most recent version, Jude Law was a better choice thanks to his relatively young age.

Of course, this film will never supersede a good book about one of the most crucial writers who existed on this planet but Ratoff's work makes him justice.

I am a fan of both Oscar and Robert but am very disappointed in Morley's portrayal of Wilde. Physically, he is both too old, too short, too plain and too fat to capture the magnificent physical presence of Oscar. I had trouble also with the script which practically obliterates Oscar's homosexuality. John Neville is too old and stilted to give us the beauty and appeal of Bosie. Oscar's well known sardonic wit is also missed in this interpretation. I much preferred Stephen Fry's later performance. When I think of Oscar, I think of glamour, vanity, beauty, genius, all of which is missing in this 1959 attempt. 5 out of 10 for Phyllis Calvert and Ralph Richardson.

Unlike the stiff and flashy Peter Finch film released a year later,this film is a gem. Robert Morely more than captures the wit,pain and humanity of Oscar Wilde. The film is very daring for its time,not only by presenting Wilde's trials for Gross Indecency on film,but for its loving and sympathetic portrayal of the man.

John Neville is also wonderful as Bosie Douglass,Wilde's lover,and Sir Ralph Richardson as Edward Carson illuminates the trial scenes. The interrogation of Morley by Richardson,and Morley's witty comebacks are not only tyhe highlight of the film,but possibly could be one of filmdom's greatest trial scenes.

Where the Finch film glossed over the surface of the events,this film takes you into the real people involved,Phyliss Calvert as Wilde's Wife,Constance and Dennis Price as his friend Robbie Ross are also wonderful in their role. Its a shame this film is not yet available on video for all to cherish.

In Victorian England, with homosexuality forbidden and punishable by up to two years in prison, celebrated playwright and author Oscar Wilde finds himself defending his lifestyle in court after initiating a libel suit against the Marquis of Queensberry--also the tyrannical father of Wilde's young lover, who has accused the two men of "unnatural acts". Director Gregory Ratoff, working from Jo Eisinger's screenplay adaptation of Leslie and Sewell Stokes' 1936 play, gets a wonderful rhythm going in the film's early sequences--aided by Robert Morley's superb reprisal of his stage role as Wilde. Still, the later trial sequences (though well-performed and necessarily claustrophobic) are hardly suspenseful or exciting. Morley's Wilde is put through the proverbial legal wringer, while his useless counsel seems to want nothing more than to concede defeat. The finale, too, with Wilde freed but destitute and delusional, is disheartening. The Oscar Wilde story is certainly one of high drama and decadence, yet this document just scratches the surface of its possibilities. **1/2 from ****