Le Dépravé

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.

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.

Updated to the Swinging Sixties, produced by infamous exploitation guru Harry Alan Towers and directed by a one-time cameraman from 'spaghetti' Westerns, this is - incredibly enough! - one of the best versions of Oscar Wilde's oft-filmed Decadent classic. At the very least, such a hedonistic decade allows for a frank portrayal of Dorian's bisexuality, promiscuity and drug addiction - hinted at so strongly in the novel, but barely glimpsed in Albert Lewin's 1945 film classic.

Its trump card is the presence of gorgeous Helmut Berger as 'the god named Dorian' (to quote the Italian title). If there was ever a more inspired bit of casting in film history, I can't think of it right now. Best known as the protege of Luchino Visconti, the beauteous Berger here proves himself as an actor in his own right. In or out of his deliciously camp Carnaby Street wardrobe, Berger glows with golden-limbed hedonism and seductive evil!

Backing him up is a splendid supporting cast. Herbert Lom as the sinister gay aesthete Lord Henry Wotton, whose barbed witticisms are lifted directly from Wilde. Margaret Lee and Eleonora Rossi Drago as two Sapphic jet-setters. Isa Miranda as a raunchy and vulgar American millionairess. (Her outfits would make Fellini blush for shame!) Not too sure about Euro-porn starlet Marie Liljedahl and Richard Todd is a bore as the painter Basil Hallward.

But even when the acting falters, the outrageously kitsch costumes and settings make this film a visual delight! Will I ever recover from that first sight of Dorian's zebra-lined 60s shag pad? Somehow I doubt it. This whole film is sleazy, trashy, vulgar, over-the-top...a shameless piece of camp on every level. Poor old Oscar Wilde would have adored every minute of it! And so do I!

Massimo Dallamano's film of Oscar Wilde's work places the story to the London of the 1960s. Even though many reviews obviously didn't like this and wrote rather negative about the film, I think the story works surprisingly well.

Helmut Berger is excellent and undeniably gorgeous as the (in the end tragic) title character, but also the other actors deliver their best. Especially Herbert Lom as Henry Wotton acts absolutely great, and most of the women are not only very pretty, but also deliver convincing performances.

All in all, "Dorian Gray" surely is the most unusual film version of the writing, it is rather drama than horror, but that's what Oscar Wilde's work is too, isn't it? I guess that Oscar Wilde would have liked this.

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.