El retrato de Dorian Gray

One of inspired versions of the novel by Oscar Wilde. For the fair portraits of Dorian, Harry and Basil, Richard Todd offering the perfect tones for his character. For the portrait itself and its last form of degradation. For the revelation of soul to Basil and scene of murder. For the hunting scenes and for the way to reflect his character proposed by Helmut Berger.

Not the last , for the images of sin and the more realistic and profound exploration of the relation with Sybill ( not the last, for wise solution of her last gesture ).

In short, provocative, no doubts, but well integrated in the frame of 1970 sexual revolution One of fundamental good points - the manner to craft his Henry Wotton of brilliant Herbert Lom.

This updating of Oscar Wilde's Victorian-age novel, "The Picture of Dorian Gray," to the 1970s and translating of the English-language text to Italian is surprisingly faithful--more so in some ways than the classic 1945 MGM version, among others. I generally don't find faithfulness important for an adaptation, but in this case it's usually for the best. And, the ways in which it does diverge from Wilde are interesting, including all of the 1970s style. I also believe that this is the first screen version to be explicit about homosexuality, which, of course, even the book wasn't (although granted, chronologically, this is only the third Dorian Gray film I've found available after the 1945 one and a 1915 silent two-reeler).

Some of the film techniques employed leave much to be desired, including the abruptness of the opening prolepsis, and its point-of-view shots of bloody hands. Some of the sex scenes are too long as well, although they're not very explicit because the bodies are generally obscured by foreground objects. Consequently, some consider this trashy or a sexploitation film, but I don't necessarily agree. At least, it could've been a lot more risqué considering its source. Anyways, it's not the gorgeous piece of art that the MGM film remains. It does, however, have plenty of 1970s fashion and style and a groovy soundtrack. It also benefits from the most-appropriate-looking (as far as being blonde, blue-eyed, young and handsome) and probably best-looking Dorian to ever appear on screen, Helmut Berger. The removal of many of Wilde's epigrams, however, leaves an unusually dull Henry.

Unlike other versions, including the 1945 and 2009 ones, this film doesn't do away almost entirely with the details of Sybil Vance's Shakespearean acting. It keeps the reason that Dorian rejects her because of her poor performance, even though she still has sex with him, as in the other movies and as just about everyone else in this film does. It bothers me that other adaptations miss the self-reflexive implications and theme of artistic illusion of this plot point. Another thing I like here is that it doesn't add a second grand romance, who is either related to Basil or Henry, for Dorian. It's entirely unnecessary. The Gladys here is an actual character from the book who partly fits that bill, instead, as well as the host of other characters from Wilde whom Dorian shags here. One of these liaisons explains his wealth, as 1970s Dorian, apparently, must work unlike his 19th-century counterpart. Another is the source of his blackmail of Alan Campbell, which is unexplained in the novel. The Alan storyline also involves photography, which is better employed here than it was in the 2009 "Dorian Gray."

Most sensationally, however, is the scene where Dorian drops the soap in the shower and Henry picks it up, and there are a few more homosexual hookups besides that. Oddly, the two characters I thought were most coded as gay when reading the novel are straight here: Basil, who gushes over his feelings for Dorian's looks in the book and fears that his portrait will expose those feelings, is merely a painter for hire here; and the usual theory of Alan's blackmail in the book is that Dorian threatened to expose his homosexuality--a crime back then, for which the author Wilde would later be sentenced. Dorian, Henry and Gwendolyn, on other hand, all take part in this iteration. I'm also rather surprised by the lack of drugs for a 1970s low-budget, supposed exploitation film. Even Wilde had Dorian visit an opium den. Regardless, this remains the most daring Dorian Gray screen adaptation to that date, which benefited by its updating to the sexual revolution.

In the late 60's in London, the model Dorian Gray (Helmut Berger) meets the aspirant actress Sybil Vane (Marie Liljedahl) and they fall in love for each other. Meanwhile, his friend Basil Hallward (Richard Todd) concludes his painting, and Dorian Gray, fascinated with the picture, proposes the devil to exchange his soul per a permanent youth and beauty. From this moment on, the character and behavior of the former sweet Dorian changes and he becomes a corrupt and amoral man, sex driven and capable of destroying many lives inclusive Sibyl's. While his friends grow older, Dorian remains young never aging, but his painting discloses his innermost ugliness, fruit of his despicable social conduct.

"Dorian Gray" is a good contemporary adaptation of the famous Oscar Wilde's classic novel "The Picture of Dorian Gray", which I believe is one of the books most read, or at least known, worldwide. Everybody is familiarized with this dramatic and evil story. The handsome Helmut Berger fits perfectly to the role and I really liked this underrated movie. Massimo Dallamano's version is original, attractive and has a good international cast. My vote is seven.

Title (Brazil): "O Retrato de Dorian Gray" ("The Picture of Dorian Gray")

Note: On 14 July 2022, I saw this film again.

Once you see DORIAN GRAY you can't forget it. It's an updated version of the famous story, updated for the swinging 60s/70s which today is now outdated, which only adds to its many memorable aspects.

There's no point of giving a brief synopsis of the story as we all know it's about a man who remains perpetually young while a painting of himself ages in the attic. But what's really "new" or different here is the tone. It's trashy or should I say Eurotrashy. Helmut Berger plays Dorian Gray as a bisexual jet-setter who likes to mingle with beautiful young women but also with men on the side. The moral of the story is that Dorian has no morals and Helmut is perfectly cast as Dorian.

The one big problem with this version is that it was made a bit too early in the 70s. Had this been made in the mid to late 70s, there would have been a bit more sex or violence. It was sorta ahead of its times with the lurid update of the Dorian Gray story but it could have used a bit more explicitness to make it more true to its intentions. As it is, it hints at things it almost never shows and it's just a big tease of sorts. With a bit more sex it could have enjoyed a wider success like the Emmanuelle films.

But the main reason to watch DORIAN GRAY is for Helmut. It's one of his few starring roles and he shines here as the decadent title character.

Trashy fun!

The story is familiar - Oscar Wilde's Dorian Gray wishes his painting would grow old whilst he remain young. This film version certainly does not equal the production quality of Albert Lewin's "The Picture of Dorian Gray" (1945), but it is superior in several other ways.

Foremost, the casting of Helmut Berger as Dorian is perfect. Mr. Berger has the "beautiful/handsome" balance necessary to essay the role; he matches his looks with a fine performance, taking Dorian from youth to decadence. Richard Todd (as Basil) and Herbert Lom (as Henry) support Berger well. Dorian's decadent slide is more appropriately depicted in this "modernized" version; however, the sexual situations run on way too long - for a time, the screen is filled with one sexual romp after another; and, the film loses focus. The sexual situations must have been very risqué at the time, but "Dorian Gray" is not "X-rated". The film may remain titillating because there are numerous sexual escapades; and, Mr. Berger and the women are very attractive.

The final "confrontation" between Dorian and Basil is used to effectively begin this version with a flashback; it might have helped to begin the 1945 version in this manner. The passage of time could have been better depicted during the early part (the 1940s-1950s) of this 1970 version, but the 1960s look terrific. The aging of Dorian's portrait is much more realistic in this version, and it somehow seems much truer to the spirit of Oscar Wilde's original work.

******* Dorian Gray (4/24/70) Massimo Dallamano ~ Helmut Berger, Herbert Lom, Richard Todd, Marie Liljedahl