The Importance of Being Earnest

Irish-born Oscar Wilde, who managed to die in Paris at only 46 years of age, formed part of that school of renegé novelists and poets from the Emerald Isle which included James Joyce. Indeed, these and other Irish writers were banned from publication in England and I seem to remember that James Joyce's earlier works were actually published in French before being allowed into print in English in the U.K.

Tut, tut, such piquant and avant-garde ideas would be too much for the genteel Victorian aristocracy living safely tucked up in hypocracy-ladened gallantry. Fortunately, for the colony-enriched classes, the `plebianism' of Charles Dickens was too long ago for their short memories, or never made it onto their bookshelves. Notwithstanding, from such gentlemanly proceedings such wit is born and which was soon to become one of the outstanding achievements of finest British humour: the ability to laugh at one's own foibles.

To this effect we must be, in great part, indebted to Mr. Wilde in general, and to `The Importance of Being Earnest' in particular. No other play of this genre has been so enacted and so many times converted into film and in so many languages as this classic of upper-crust comportment. Among the numerous versions available on film, this one by the irreplaceable Dame Edith Evans goes down as being the model from which any other readings must inevitably be taken. Dame Edith Evans IS Lady Bracknell; even Judy Dench is only playing the rôle in comparison.

The rising and setting of the curtain at the beginning and end of the film makes it totally clear that the play is to be seen on film but as if we – the spectators – were in the theatre. And so it should be: any free hand at getting away from such concept might well be unstomacheable, as well as irritating to admirers of the classics or simply people like myself who try not to be too pedantic. There are plenty of modern examples of William Shakespeare's plays on film which faithfully adhere to the original concepts and which do not lose anything in the telling. In this respect we can say that this version of the play is on target: what might seem exaggerated portrayals of the characters – especially Dame Edith Evan's reading of Lady Bracknell – indeed to my mind fulfills precisely what Oscar Wilde intended. Nobody else can ejaculate `F….o….u….n….d?' in five syllables as Dame Edith Evans does.

Fifty years on, this is still the version from which any other attempts will be judged. I hope I am not being earnest in excess…….

Oscar Wilde's language is exquisitely spoken by the English cast that made, what should be considered, the definitive version of the play. The most important thing is the poetry all these actors were able to bring to the film, which reflects a bygone era; it is music to one's ears.

Anthony Asquith directed and adapted the play in ways that it never feels it's filmed theater. The director achieves a coup in casting Dame Edith Evans as Lady Bracknell, in one of her best appearances on the screen. Her Augusta is just what one expects a Victorian English lady to be like. Although Ms. Evans is not on screen all the time, she completely dominates the action. Even if one knows Ms. Evans is giving an exaggerated portrait of a society lady, she is delightful to watch as one stays riveted to her movements, facial expressions in making this woman come alive for us.

Michael Redgrave and Michael Denison, two dashing young actors, at the time, are a joy to see. The fastidious Jack, and his friend, Algenon, have excellent opportunities in which to shine. The same goes for the two female leads, Joan Greenwood and Dorothy Tutin, are perfectly cast as Gwendoline and Cecily, the love interests of Jack and Algenon. The redoubtable Margaret Rutherford is seen as Miss Prism, who is the key to solving the mystery in the plot.

"The Importance of Being Earnest" is a classic that was made at the legendary Pinewood studios and it shows the British cinema at its best.

This is a tremendous movie based on a tremendous play. Oscar Wilde, despite his personal quirks, or maybe because of them, was a master of wit and language. When he wished to be serious, his works are also well written.

This movie, and others based upon his works (The Picture of Dorian Gray, etc.) are all masterpieces of art.

The Importance of being Earnest has been remade successfully, the dialog cannot be better. The situation, while complicated, is hysterical, and everything fits into place, especially at the end. In the 1952 version the play by Wilde was well adapted by writer/director Anthony Asquith. The portrayals of all the case, of Redgrave, as Redgrave as Jack, of Evans as Lady Bracknell, even that of Malleson as Canon Chasuble are sparkling, and the movie could not have been more enjoyable.

Recent remakes of Wilde's movies, including that of The Importance of Being Earnest, are well done. This original movie, however, should be seen by anyone appreciating comedy, and want to watch a great film.

Delightful film adaptation of Oscar Wilde's superb play about Victorian-era English manners and mix-ups. The play and performances are so close to Mr. Wilde's original words, you really can't go wrong; although, on close inspection, there are clearly some logistical problems. For example, it is shot beautifully, but without a flourish or imagination worthy of Wilde. And, cameras emphasize things that wouldn't have mattered with the otherwise marvelous cast on stage. To be fair, the film acknowledges this in its execution.

Everyone is exemplary, but elderly Aunt Edith Evans really demands to be seen. She possess the role of "Lady Augusta Bracknell" for all eternity, and would be famous for merely uttering the two words "A handbag?" but, every word and phoneme slips sardonically from the mind of Oscar Wilde to dame Edith's tongue. Ms. Evans should have received some "Best Supporting Actress" notice, but this was released in 1952, not 1948, and American voters were favoring homegrown material.

Pity.

******** The Importance of Being Earnest (6/2/52) Anthony Asquith ~ Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood

I watched this film adaptation (and Oliver Parker's 2002 version as well) of Oscar Wilde's classic play The Importance of Being Earnest to complement my study of it for a 19th century English drama course. First I want to say, no matter what version(s) you choose to see, I strongly suggest you read the play first (its not that long). In some cases, the casting in the later film (specifically Reese Witherspoon as Cecily and Rupert Everett as Algy), made fifty(!) years later to be exact, seemed more appropriate but in my opinion Asquith's version captured the spirit of the text more succinctly. I must also say as well, however that since Asquith's version is essentially a staged play, there is little in the form of visual dynamism from the camera; in other words the film rests almost entirely on the strength of the performances. Happily, they do not disappoint.