Il dio chiamato Dorian

I was certain that no cinematic representation would do justice to the book. However, the clever idea of making a contemporary film made it interesting and original. Even the focus on Helmut Berger looks is not faulty, since this is the spirit of the book. Thankfully, all the girls were also very pretty. Although it's no masterpiece on its own right, Oscar Wilde would have liked it.

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 It's an updated version of the famous story, updated for the swinging 60s/70s which today is now outdated, which only adds to its many memorable aspects.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!

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.

Massimo Dallamano's Dorian Gray is a REALLY kitsch version of Oscar Wilde's classic tale, set in 'swinging' London, with funky music, gaudy fashion, and decadent sexually-liberated characters of all persuasions. Helmut Berger is the beautiful young Gray, who sells his soul so that his portrait will age and decay while he himself stays eternally youthful; Richard Todd is artist Basil, who captures the likeness of Gray so perfectly that his subject becomes obsessed with his own attractiveness; and Herbert Lom is influential art dealer Henry Watton, who leads Gray astray by telling him to make the most of his youth and yield to temptation. Marie Liljedahl plays stage actress Sybil, who falls for Dorian, but finds herself abandoned once Gray gets a taste of the high life.

Dallamano keeps the film moving at a decent pace, and his cast all put in entertaining performances, with Lom being particularly fun as the corruptor of youth, providing the film's funniest moment (unintentionally so) when he pops up in Dorian's shower, bar of soap in hand. Isa Miranda is also a hoot as ageing millionairess Mrs. Ruxton, who Dorian reluctantly treats to a spot of back-door sex in a stable. Perhaps the best thing about the film is the hideous '70s clothing, especially Berger's wardrobe: his blue velvet shirt and shorts two piece is quite the fashion statement, but it pales in comparison to the zebra stripe coat, brown flares, foppish hat and cravat ensemble that he opts for in the final act. Talking of zebra stripes, they must have been popular back then - Dorian's apartment is adorned with zebra pattern curtains, and not one, but two zebra skin rugs. Other animal-based decorations include a lion skin rug (you can never have too many dead animal skins to lounge on) and an elephant tusk picture frame. How tasteful!

7.5/10, rounded up to 8 for Liljedahl, who is gorgeous (and not averse to taking her clothes off), and for the hilarious pair of mincing queens outside the Black Cock nightclub (I kid you not!).

Much like other sexploitation films of this period, looking back on them can be quaint. They have plenty of nudity, but it's not as if they ever get into hardcore sex. This adaptation of Dorian Gray promises tons of sex and depravity, but its fairly chaste when all is said and done. What's most surprising about it is that it's not a half bad adaptation of the Oscar Wilde story from which it's based.

Helmut Berger plays Dorian Gray, an impossibly beautiful young man who falls for an actress named Sybil, but as he starts to make it way up through the London society crowd, he no longer has much use for Sybil and after he discards her, she kills herself. This leads Dorian to harden and only rely on his looks until people begin to get suspicious as to why he never seems to age after many years. Perhaps the secret involves a painting hidden away in his attic.

Despite adding in some sex and nudity to spice things up, this version of Dorian Gray plays out, more or less, like the original story. It might dwell in the sexual depravity a bit more than most adaptations, but at least it works for the story it's telling. It's a bit slow at times, but at least it's trying to tell a somewhat interesting story.