An Ideal Husband

This film doesn't have a very good reputation, e.g., "slow moving" (Maltin) and "a slight, stiff play is swamped by the cast" (Halliwell). IMDb comments are mixed. Well, it does have the limitations one would expect from Korda filming a period play in lavish Technicolor. It is pictorially static, with overly bright colors. For the most part, the actors' voices are animated but their bodies are strangely inert. But in general I thought this wasn't that bad an adaptation, somewhat better than the trendy 1999 version, if only because Korda understood the period he was filming. It seems to me that Wilde's plot complications have been smoothed out a bit here (his name is not even on the credits!) so that the solution follows the problem too quickly and the whole thing can be over in 96 minutes and still have a spectacular recreation of crowds in period costume at the Ascot races. (Perhaps this is an unfair comment since IMDb notes that an original version was a half-hour longer.) With the casting and the spirited performance of Goddard, Mrs. Cheveley becomes the most animated and virile character in the film. Lady Chiltern's conception of morality should stem from a vigorous, naive idealistic vision. She should be a dynamic, slightly-otherworldly treasure with a fairytale view of the world and be the core of the film, for the plot hinges on her vision of purity. The casting and somewhat stodgy performance of Wynyard in the role weakens the story. The character becomes merely an upright, slightly stuffy moralist. Hmmm. Perhaps the criticisms directed at the film are justified. In spite of this, I quite enjoyed this, my third go-around with the play. The Importance of Being Earnest is perhaps more witty and amusing, but this story has a much more provocative drama at its core, with interesting things to say about ethics, morality and idealism. I find it odd that it is universally described as a comedy. Certainly there's a lot of pithy, epigrammatic dialogue, and some light moments, but the basic story is a clear-cut moral drama. The anguish of Sir Chiltern and his wife is real, the stakes are high and virtually life-threatening, and the moral decisions are agonizing.

Hungarian immigrant Alexander Korda did more than anyone else to make the cinematic image that the United Kingdom likes to show the world. In An Ideal Husband, Korda paints a very pretty picture of Victorian London. The games played by some of its upper crust inhabitants is not so pretty.

Hugh Williams is a rising politician and a man known for strong probity supported by his equally virtuous wife Diana Wynyard. But back in the day in a move that would now be called insider trading Williams is being blackmailed by adventuress Paulette Goddard who has an indiscreet letter from back in the day.

It's a story that never sees an end. A person in public life who makes such a show of personal virtue brought down or at least threatened with an indiscretion. It's similar to Broderick Crawford in All The King's Men when he blackmailed a former judge. The answer there was suicide.

The answer here is Williams goes to his friend Michael Wilding who is a bit of an upper class rogue himself to help with Goddard. Unbeknownst to him, Wilding and Goddard have some history which does kick back against Goddard.

I can truly see Vivien Leigh in the part who was the first choice. Still Goddard who makes no attempt at an English accent comes off well. She's one sly little minx and in the end she's most definitely got a plan B ready to roll.

Of course the Oscar Wilde quotes are just rolling from the mouths of the characters. Listen close or you'll miss one. Wilde always was a sophisticated observer of the human race and sad how some of his statements came all too true in his own life.

Add C. Aubrey Smith as Wilding's father who wants him to straighten out and be like that pillar of the Empire, Williams. Also add Glynis Johns as Williams's sister who much prefers a rogue to a model of probity.

You've got a fine adaption of a great Oscar Wilde play which is a bit more serious than most of his work.

Oscar Wilde is often thought of as a primarily comic playwright, but of his seven completed plays only one, "The Importance of Being Earnest" is a pure comedy. Three other plays are sometimes bracketed with it as "drawing-room comedies", but all three are in many ways problem plays, combining plenty of witty dialogue with serious examination of social issues. In "Lady Windermere's Fan" and "A Woman of No Importance" these are questions of sexual morality, whereas "An Ideal Husband" revolves around political corruption, questions of honour, and the relationship between the sexes.

"An Ideal Husband" has been filmed four times. There were two separate adaptations in the late nineties, made only a year apart, but, oddly, the first version was made in Germany in 1935. Given the Nazi detestation of homosexuality, it seems strange that they should have chosen to film a work by a famously gay author. This 1947 version, however, is the only one I have seen. It is an early example of the British "heritage cinema" style, being made in colour, which was still the exception rather than the rule in the British cinema of the forties, and featuring the lavish period sets and costumes which were later to become the hallmark of films set in the Victorian era.

The action is set in London in 1895. Sir Robert Chiltern, a wealthy and successful politician, is approached at a party one evening by a mysterious woman named Mrs. Cheveley, who attempts to blackmail him to support a fraudulent scheme in which she has invested. She says that she knows, and can prove, that earlier in his career he was guilty of selling a state secret for money, and threatens him with exposure unless he makes a speech to the House of Commons recommending that the British Government support her scheme. The film then explores the complications which arise from this and Mrs Cheveley's other machinations.

Two key characters are Sir Robert's wife Gertrude and his closest friend Lord Arthur Goring. At first Goring seems to one of Wilde's witty but foppish young men, a gilded dandy whose main talent is for uttering bons mots like "Life is never fair, and perhaps it is a good thing for most of us that it is not", but in the end he proves to be a loyal and resourceful friend to Sir Robert. Gertrude Chiltern is high-minded and idealistic, but can be inflexible and unforgiving; she finds it difficult to make allowances for those, even her husband, whose moral principles are not as rigid as her own. The need to atone for one's past misdeeds, and the need to allow others to atone for theirs, is one of the key themes of the play. "No one should be entirely judged by their past." Although "An Ideal Husband" does not directly address the question of sexual morality, it does have some relevance to Wilde's own situation. Like Sir Robert, he was hiding what late Victorian society would have considered a guilty secret.

There are good contributions from Hugh Williams as Sir Robert, Diana Wynyard as Gertrude and Paulette Goddard as Mrs Cheveley, who here becomes an American who has kept her accept despite her English education. (We learn that she was s schoolmate of Gertrude Chiltern). Doubtless the film-makers wanted to create a role for a major American star. There is a particularly good performance from Michael Wilding as Goring, which is not an easy role to play. On the one hand the actor's performance must be light and elegant enough to convey Goring's facade of the cynically witty boulevardier. On the other, it must also be substantial enough to suggest the decent man of principle and devoted friend who lurks beneath that facade, and Wilding is able to bring off this difficult double. Wilding may be best remembered today as one of Liz Taylor's many husbands, but in the forties and fifties he was an established star of the British cinema and of Hollywood. He was also a versatile actor; another role in which he was excellent was that of the Pharaoh Akhenaton in "The Egyptian", a character about as different from Goring as one could imagine.

The film closely follows the plot of Wilde's play and keeps the original setting. (One difference is that the scene in the House of Commons is actually shown; in the play we merely hear about it at second hand). I think that this was the right decision as the details of Wilde's plots are often specific to late Victorian times and attempts to update them can fall flat. An example is the recent "A Good Woman", an adaptation of "Lady Windermere's Fan", which makes the main characters American rather than British and transfers the action to 1930s Italy. In my view this film does not really succeed, and an important reason for this is that the film-makers never seem to have taken into account the fact that the world had changed in the four decades between the 1890s and the 1930s.

If one looks at the wider themes of Wilde's plays rather than the details, however, they can be seen to touch on many topics of timeless relevance to modern times. This was true of the 1940s and remains true today; the theme of political corruption, for example, seems particularly relevant today in the wake of the MPs' expenses scandal. Even more important is what he has to say about love: - "It is not the perfect, but the imperfect, who have need of love. It is when we are wounded by our own hands, or by the hands of others, that love should come to cure us – else what use is love at all"? The combination of wit with a serious discussion of important topics is what makes Wilde's "drawing-room" plays so compelling, and this version of "An Ideal Husband" is an excellent adaptation of a great play. 8/10

This adaptation of the Oscar Wilde story "An Ideal Husband" works pretty well as light entertainment despite some shortcomings. It focuses on the dilemma of a prominent British politician, who wants to expose a financial fraud but who has been threatened with personal ruin if he does. The plot that follows does not really fulfill all of the potential of the situation, but that is probably a deliberate decision, as the story focuses more on the sights, atmosphere, and ways of upper-class society.

It often moves slowly in order to call attention to the sometimes extravagant habits of the characters; sometimes this is effective, sometimes less so. Once it gets going, the pace picks up a little. There are some moments of good subtle humor and commentary, with some of the funniest scenes perhaps being those with Michael Wilding as a wastrel son being confronted by father C. Aubrey Smith. Paulette Goddard is pretty good in an underplayed role as the villainness.

Overall, it scores higher on style than on substance, but perhaps that is exactly as intended, and it is entertaining enough to be worth seeing.

An ideal rendering of Oscar Wilde at his best, this is a feast for the eyes all the way through, with excellent acting by Michael Wilding, Diana Wynyard, Hugh Williams, Paulette Goddard, Glynis Johns and C. Aubrey Smith among many others, a little drowned perhaps in too much music, but never mind - the music is good as well, especially in the beginning at the grand opening scene of the soirée with all the top society of belle époque London all at their gaudiest dresses. It's difficult to say what's best in this film, who is the best actor (while I am leaning towards Diana Wynyard), if the prize goes to the colourful scenery and sets, but I think the main triumph of the film is Oscar Wilde's own dialogue, which must make every screening of this play into a success - it has been done so often. It's a joy to behold all the way, you can't tire of it, and you just want it to go on forever, even with Paulette Goddard busy at new ugly schemes of blackmail and destructive cultivation of greed - yes, this is actually Oscar Wilde's most and maybe only moral play.