In Victorian London comes Dorian Gray, a young man of extraordinary beauty and nobility. Sensitive and emotional, Dorian is soon involved and dragged into the vortex of worldliness by the charismatic Lord Wotton, hardened faithless married to Lady Victoria. Struck by his handsome appearance, the painter Basil Hallward captures the colors and the canvas. On the day of the portrait, Dorian makes a vow and a desire to stay young forever. Disputed by the interest of Lord Wotton and love of Hallward, Dorian dispels her eternal youth and life between brothels and theaters, unbridled libertinism and promises of marriage, prostitutes and wives consumed repudiated without his face suffers the sign of the defect .
To disfigure and defile is its soul, framed and fixed on the walls of a house too big. Alarmed by the deterioration of the portrait, Dorian puts it in the attic, out of sight of the gentlemen and ladies, who throng its existence and its insatiable salons. As time passes and fades the faces and the will of his friends, Dorian remains faithful to its beauty and its diabolical pact. Only love for the daughter of Henry Wotton can redeem and cancel the evil effects of evil.
It is not easy to adapt a book for the screen, renewing and extending the pleasure of the text. Even more complex is to achieve the transcription of a literary classic films as "The Picture of Dorian Gray" by Oscar Wilde, published in 1890 in England flavor and Victorian ideals. Try the company, but not new to the company and the words of Wilde, the English director Oliver Parker. After the transposition of two comedies of the poet, novelist and playwright Irish (An Ideal Husband and The Importance of Being Earnest), Parker looks for a direct confrontation with the hero of Wilde's decadent.
Dorian Gray, played on screen by Ben Barnes, is a rebel "cold" which lacks the tumultuous inner life of romantic heroes and to whom a contract has fixed a demonic mask unchangeable. The usurper and callow Prince Caspian, the famous Chronicles of Narnia, this time through a much more formidable threshold, practicing the exclusive worship of beauty and absolutely beyond the boundaries of decorum and modesty impassable established by fearing Victorian society. To press with sentences, aphorisms and paradoxes is the brightest overflowing Lord Wotton of Colin Firth, superb and contemptuous in his attempt to shock the virtuous middle class and moving and revive the moral frontier of his young protege. Solutions to questions arising from the construction of literature fail, despite the best intentions of the director, to produce recommendations towards other, more contingent analysis.
Dorian Gray remains strongly anchored to the mentality and the time of Oscar Wilde, low, mainly in the script to fidelity to the limit of illustration. Parker is careful not to jump into a melee between literature and film, implying the literary origin of the film and exhibiting within the theatrical dimension, the spectacular special effects. Effects that illustrate the nightmares of neurotic protagonist and make visible its monstrosity, the mixture of human and repulsive a dandy animated by vocation to create a unique life, selling his soul to the devil trivially.
Ben Barnes, Prince superb dandy, but too early, try with mixed results in freeing the potential for enjoyment of his Gray, eliminating the white Dorian of incipit and advancing in the lower instincts and vital carnality of another horrible and of itself. A little 'Harker and a little' Dracula, the Gothic Dorian Gray Parker-Barnes, in the epilogue to surprise himself over to the love of an imaginary person (the Emily Wotton Rebecca Hall), finding and retrieving the wrinkles and appearance self buried beneath the crust and under the colors.
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