The Importance of Being Earnest 1952 Movie Review
The importance of beingness Oscar
Oscar Wilde's language is exquisitely spoken by the English cast that fabricated, what should exist considered, the definitive version of the play. The virtually important thing is the poesy all these actors were able to bring to the film, which reflects a foretime era; information technology is music to i's ears.
Anthony Asquith directed and adapted the play in ways that information technology never feels it's filmed theater. The director achieves a coup in casting Matriarch Edith Evans equally Lady Bracknell, in one of her best appearances on the screen. Her Augusta is only what one expects a Victorian English lady to be like. Although Ms. Evans is not on screen all the time, she completely dominates the activity. Even if 1 knows Ms. Evans is giving an exaggerated portrait of a society lady, she is delightful to sentry as one stays riveted to her movements, facial expressions in making this woman come live for us.
Michael Redgrave and Michael Denison, ii dashing immature actors, at the time, are a joy to run into. The captious 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 every bit Gwendoline and Cecily, the love interests of Jack and Algenon. The redoubtable Margaret Rutherford is seen as Miss Prism, who is the cardinal to solving the mystery in the plot.
"The Importance of Existence Earnest" is a classic that was made at the legendary Pinewood studios and it shows the British movie theater at its best.
51 out of 55 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Importance of Being Edith Evans
Delightful film adaptation of Oscar Wilde's superb play almost Victorian-era English manners and mix-ups. The play and performances are and so close to Mr. Wilde'due south original words, you lot really tin can't go wrong; although, on close inspection, there are clearly some logistical problems. For example, it is shot beautifully, simply 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 pic acknowledges this in its execution.
Everyone is exemplary, simply elderly Aunt Edith Evans really demands to be seen. She possess the office of "Lady Augusta Bracknell" for all eternity, and would exist famous for merely uttering the ii words "A pocketbook?" but, every word and phoneme slips sardonically from the mind of Oscar Wilde to dame Edith'due south tongue. Ms. Evans should take received some "Best Supporting Extra" notice, but this was released in 1952, not 1948, and American voters were favoring homegrown cloth.
Pity.
******** The Importance of Existence Earnest (6/two/52) Anthony Asquith ~ Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood
fourteen out of xv plant this helpful. Was this review helpful? Sign in to vote.
Permalink
The very model of wit and whimsy, the likes of which we do not encounter often enough whatsoever more
In the country, Jack has a large home, an eighteen-yr-quondam ward, Cecily, to look after and is very serious. But in the city he is Earnest – a young wag with a dastardly reputation and a good friend in the shape of fellow available Algy. Even so when he wants to marry his urban dear Gwendolen he meets opposition from her guardian Lady Bracknell. Jack tells Gwendolen where his rural home is – and Algy overhears. Enticed by Jack's description of his ward Cecily, Algy travels to Jack'south dwelling house and poses as his made upwards blood brother Earnest. All the same the inflow of Gwendolen puts the cat among the pigeons in a nearly frightful manner that can simply be resolved with delightful charm and wit (and some good fortune).
On the very twenty-four hours of Wilde's 150th birthday I decided that it seemed a perfectly reasonable fourth dimension to rewatch ane of his most famous works and sat to watch the most famous film version of Earnest. From the stage leap fix, this moving picture opens up into proper sets, but it is not the background that opens upwards the film merely the light and wonderful dialogue. I will not go into any more item on the quality of the script because that stands for itself – that, well over 100 years later, I can still watch it and laugh is testament to its quality. The delivery of the film does information technology justice, even if (ironically plenty) the motion-picture show does experience rather stuck on a stage – certainly in comparison to the 2002 remake. This is understandable given the picture's age but it does make the picture show feel a little constrained, only fortunately the wonderful dialogue gives information technology wings. Of course some people will not similar the film for this reason equally they adopt their humour to be more of the American Pie diverseness (nothing wrong with that) but for me I love the wit and fun it delivers.
Of course the bandage is a major role of the delivery and the majority of them really practice well with their roles. Redgrave is enjoyable and delivers his lines well even if he has the least colourful of the principal characters. Denison is much more colourful and enjoys his smooth and rather caddish office with some relish and is enjoyable in support. Evans provides a most memorable character and as well has some of the most celebrated lines (including the immortal and well-delivered 'a handbag?'). Of course stealing the pic is unremarkably the job of Margaret Rutherford, simply she doesn't exercise that hither despite withal playing to her usual grade. Greenwood and Tutin are OK and have plenty of proficient lines betwixt them; they are little stilted at times simply in some regards this is part of who they are – very proper and slightly absurd characters.
Overall this is a wonderfully light little film but one that would sadly struggle to make an bear upon at the box function if it were to be re-released today. Many will find the lack of large obvious belly laughs to exist a trouble but if y'all do then I would simply say you're watching the wrong moving picture and should try something you're more accustom to. For me the script is a archetype foundation for some nice direction (despite the set bound production) and some great delivery from a talented bandage all combine to make this the very model of wit and whimsy, the likes of which we do not see often enough any more.
35 out of 43 found this helpful. Was this review helpful? Sign in to vote.
Permalink
a truly Wilde production
Oscar Wilde's nearly famous play is given an extremely stage-bound reading in this color adaptation past Anthony Asquith. It evens starts and ends with the raising and lowering of a theatre curtain!
That aside this is probably the essential Wilde movie – not but do we get the master four role perfectly bandage (Michael Redgrave every bit Jack, Michael Denison as Algy, Dorothy Tutin as Cecily, Joan Greenwood as Gwendolen), we also have two of the about delightfully eccentric portrayals in the history of movie theatre with Margaret Rutherford as Miss Prism, and, of course, Edith Evans as Lady Bracknell. Who could resist the way Dame Edith says 'a handbag!'
A hugely enjoyable movie which makes sure none of the wit is lost in unnecessary padding or setting – something the makers of the recent remake could learn from.
21 out of 23 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The definitive cinematic production
Oscar Wilde'south celebrated masterpiece is a comedy on three levels. First there is the denotative level, one might say, the level in which the conservative are entertained après dîner. It is on this level that Oscar Wilde follows the bully theatrical tradition of comedy from the time of the Greeks through Shakespeare and French farce into the twentieth century to the musical comedy of the London and New York phase. His play on this level is a comedy of manners, pleasant, charming and very clever. The class conscious jokes most the lower orders and the servants are double-edged and add together just a touch of squirm to the laughter of the not completely discerning audience. It is on the second level that The Importance of Existence Earnest becomes one of the greatest plays always written. On this level, the comedy is a full blown satire of Victorian society, and in particular of its audience. Wilde had the very great pleasure of flattering and making fun of the audience while beingness applauded for doing so. His subtitle for the play, "A Trivial Comedy for Serious People" is an allusion to these ii levels. It is on this second level that Wilde speaks through the vocalisation of Lady Bracknell (and sometimes Algernon), whose ironic and unself-conscious pessimism is and then similar his own. It is on this level that all the fun is made of the hypocrisy of marriage and its mercenary nature, at least as practiced past the petite bourgeoisie of London town, circa 1895. Merely there is a third level, a level known of course to the cognoscenti of the time and to modern audiences, but for the about role never dreamed of by the London theater-goers of the 24-hour interval. In this regard I have recently read that "Earnest" was a slang euphemism for being gay, and I suspect this is true. Indeed, I can imagine a whole earth of witticism based on being "earnest" and existence "Ernest," a world now (peradventure charitably) forgotten. Certainly this knowledge sheds some lite on Jack'south invention of his invalid friend "Bunbury," whom he finds he must visit to escape unwanted social engagements.
I of the best things about this corking play is ane can appreciate it on any one of the 3 levels and find please on that level alone. One can see Worthy as John Worthy, or equally Jack Worthy, or as Ernest Worthy, however i likes. This adaptation, starring the unequalled Dame Edith Evans as Lady Bracknell, and Michael Redgrave (father of Vanessa and Lynn Redgrave) equally John Worthy is of course the justly historic, clearly definitive screen adaptation. It should be noted, however, that Lady Bracknell is the real star of the testify, and when she enters a scene, she steals it. Edith Evans was bright and unforgettable and obviously having a wonderful time. Margaret Rutherford is a scream as Miss Prism and Miles Malleson every bit Chasuble is but, shall I say, darling. I should note that both the male person leads were a touch too old for their parts. Redgrave was 42 and Michael Denison, who played Algernon, was 37 when the pic was released in 1952. Yet I retrieve Oscar Wilde would accept approved of the casting, probably finding it admirable and plumbing equipment that these two men almost boondocks would have avoided union for so many years. (I won't mention the ages of the actresses.) Joan Greenwood as Gwendolyn achieves just the correct amount of flaky innocence and calculated whimsy, while Dorothy Tutin is the very definition of the spoiled, sweet and ambrosial, man-hunting Cecily Cardew. The direction past Anthony Asquith is unnecessarily directive in the sense that he moved some scenes around, merely is substantially without impairment.
The best manner to appreciate this play, and to choice up all the nuances, and there are nuances aplenty--and jokes upon jokes, sharp social and political observations, and witticisms inside prevarications, and lies that are truths and vice-versa--is to view the video, simply appreciating it on one level, then read the script, and then view the video again. You're in for a treat.
(Note: Over 500 of my moving picture reviews are now available in my book "Cut to the Chaise Lounge or I Tin't Believe I Swallowed the Remote!" Get it at Amazon!)
61 out of 74 found this helpful. Was this review helpful? Sign in to vote.
Permalink
A delicious box of bon mots!
I haven't nonetheless seen the 2002 theatrical motion-picture show version of Wilde's classic, perchance because I can't see how anyone, not even Judi Dench, could improve upon Dame Edith Evans's immortal portrayal of that deathless boxing-axe, Lady Bracknell. And and then there's Margaret Rutherford and Miles Malleson wittily playing characters that fitted them to a "T." Not to mention the unctuously delicious Joan Greenwood, whose line readings caress one's ears like the aural equivalent of a framboise liqueur. Dorothy Tutin was a perfect wise-for-her-young-years ingenue. Merely the men, in my view, were merely serviceable, with Michael Denison, especially, somewhat of an badgerer. The Technicolor mounting, deliberately stagey, was center candy of the best sort, like an extravagantly decorated sometime-fashioned box containing the sort of confections i would savor to the very last morsel. Great fun!
27 out of 31 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
Dodgson's Chapel
Warning: Spoilers
Dodgson's Chapel
I've finally come around to this film of the famous play. The 2002 version wasn't done well and was the subject of one of my very first IMDb comments. The problem in that location was that the movie tried to be a movie instead of a play, and failed. This one tries merely to be a non- distracting motion-picture show of a play. In fact, I suppose the script is precisely that of the play with no muddling.
It works marvelously and in the procedure becomes more than of a workable moving picture than the afterwards projection which tried and so hard.
I think the reason is unproblematic. The play had a coherent soul. (Oh, how I wonder how rare information technology is that we take someone that tin can do this, and what a tragedy that nosotros torture them for beingness "deviant." Or whether certain types or art need this on both sides.)
That soul is placed in the center of language, not situation. Its the words that matter, in fact it is the word/name "earnest," and the delicious notion that a baby can be mistaken for a book, in "moment of mental abstraction."
Much of the humor or words reflected against gimmicky society is based on oblivious extension of phrases and is directly influenced by Lewis Carroll, a somewhat older member of the Oxford customs. Its rather wonderful seeing how this meme evolved on the phase, jumping from one clever writer to another until existence extinguished by silent films. Its far more interesting than Uranian matters.
But we take information technology here again, unsullied. The spoken communication of Lady Bracknell has to exist one of the funniest and sharpest sequence of words ever woven.
I should mention a device. The play starts as a play. We see the audience, who looks much similar the characters. The drape goes up and the reality moves to the stage.
Ted's Evaluation -- 3 of 3: Worth watching.
8 out of 9 constitute this helpful. Was this review helpful? Sign in to vote.
Permalink
Splendid accommodation!
I watched this film accommodation (and Oliver Parker's 2002 version as well) of Oscar Wilde's classic play The Importance of Existence Earnest to complement my report of it for a 19th century English drama class. Starting time I want to say, no matter what version(due south) you cull to meet, I strongly propose y'all read the play kickoff (its not that long). In some cases, the casting in the later film (specifically Reese Witherspoon as Cecily and Rupert Everett equally Algy), made l(!) years later to be verbal, seemed more appropriate but in my opinion Asquith's version captured the spirit of the text more than succinctly. I must besides say as well, all the same that since Asquith's version is substantially a staged play, there is little in the form of visual dynamism from the camera; in other words the flick rests almost entirely on the strength of the performances. Happily, they do not disappoint.
22 out of 26 found this helpful. Was this review helpful? Sign in to vote.
Permalink
He who laughs at his ain foibles, laughs longest
Irish-born Oscar Wilde, who managed to dice in Paris at but 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 before works were actually published in French earlier existence 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 elite living safely tucked upwardly in hypocracy-ladened gallantry. Fortunately, for the colony-enriched classes, the `plebianism' of Charles Dickens was too long agone for their short memories, or never made it onto their bookshelves. Notwithstanding, from such gentlemanly proceedings such wit is born and which was before long to become one of the outstanding achievements of finest British humour: the ability to laugh at ane'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 then many times converted into film and in so many languages as this classic of upper-crust comportment. Amidst the numerous versions available on motion-picture show, this one by the irreplaceable Dame Edith Evans goes down as being the model from which any other readings must inevitably be taken. Matriarch Edith Evans IS Lady Bracknell; even Judy Dench is simply playing the rôle in comparison.
The rising and setting of the mantle at the beginning and end of the pic makes it totally clear that the play is to exist seen on flick but equally if we – the spectators – were in the theatre. And so it should be: any free hand at getting abroad from such concept might well be unstomacheable, as well as irritating to admirers of the classics or simply people similar myself who endeavour not to be likewise pedantic. There are enough of modern examples of William Shakespeare'southward plays on film which faithfully adhere to the original concepts and which do non lose anything in the telling. In this respect nosotros 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 tin ejaculate `F….o….u….n….d?' in v syllables every bit Dame Edith Evans does.
Fifty years on, this is still the version from which whatever other attempts will be judged. I hope I am non being earnest in excess…….
33 out of 41 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Wildely Funny
rsose 11 February 2005
This is a tremendous picture show 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 Greyness, etc.) are all masterpieces of art.
The Importance of being Hostage has been remade successfully, the dialog cannot be better. The situation, while complicated, is hysterical, and everything fits into place, especially at the stop. In the 1952 version the play by Wilde was well adapted by writer/manager Anthony Asquith. The portrayals of all the example, of Redgrave, as Redgrave equally Jack, of Evans equally Lady Bracknell, even that of Malleson as Canon Chasuble are sparkling, and the picture show could not have been more enjoyable.
Recent remakes of Wilde's movies, including that of The Importance of Being Hostage, are well washed. This original movie, however, should exist seen past anyone appreciating one-act, and want to scout a great film.
29 out of 31 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The greatest one-act in the English language language
Anthony Asquith makes no attempt to 'open out' Oscar Wilde'southward peachy comedy of manners, (the best always written in the English), so essentially what we are seeing is about the best functioning you could peradventure accept of a very great play due entirely to Asquith's understated direction and the complete playing of his cast. Edith Evan'south Lady Bracknell is already legendary, (a radical reinterpretation of the part is what is required if anyone else is to make an impression in the role), but so too are Michael Redgrave's Jack Worthing and Michael Denison's Algernon Moncrieff. (Redgrave is prissy and fey and very Wildean while Denison has a wonderfully easy-going loucheness about him). Nor can one fault Joan Greenwood as Gwendolen, (more tiger than kitten), or Dorothy Tutin as Cecily, (fresh faced innocence betraying a steely core), while Margaret Rutherford as Miss Prism wobbles that peachy chin of hers like a marshmallow on a low heat, (information technology may be her best and nigh undervalued performance). Hardly picture palace in any traditional sense of the word, so, just it is to be treasured all the aforementioned.
10 out of 12 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
Oscar's Greatest Play
Warning: Spoilers
In January 1895 two plays were produced in London's West End, and the reactions of the theater going public was marked in both cases. The first was GUY DOMVILLE, a historical drama that was written by Henry James. James had spent the improve role of a year writing this play, and it was to establish him (he hoped) every bit a slap-up dramatist. Information technology has never been revived (every bit far as I know) merely it's opening night was a disaster. Despite beingness put into the hands of a leading actor manager (George Alexander), the play was considered and then static and feeble that the audience was laughing at the actors throughout the operation. James, a nervous homo, did not show upwards until the drapery was closing. In a moment of anger and meanness, Alexander (who had gotten his share of jeers that dark) signaled the audience to exist tranquillity, and said that it was his pleasure to introduce the author of the play. Poor James walked over to Alexander, imagining he would receive kudos of adulation for bright work. Instead the audition jeered and laughed at him - and he fled the theater (and London). He never wrote some other commercial play.
A few weeks later Alexander regained his audience by appearing as Jack Worthing in the second play of that month: Oscar Wilde's THE IMPORTANCE OF Existence Hostage. It was a hitting comedy since that night, and though Wilde'south personal disaster caused it to be airtight prematurely it has remained (with LADY WINDEMERE'S FAN) permanently in earth repertoire. Simply Wilde too, due to his legal disaster, never wrote another play for the British theater - he did write SALOME for strange performances.
Due to the Wilde Scandal of 1895 his stories and plays were not performed on stage or in the movies in Britain for years. Information technology was unlike in the U.S. THE CANTERVILLE GHOST (brought up to date) was a successful movie with Charles Laughton, Robert Young, and Margaret O'Brien during the war. In the film FLESH AND FANTASY a version of LORD ARTHUR SAVILE'S Criminal offence was in i of the episodes with Edward G. Robinson, Sir C. Aubrey Smith, and Thomas Mitchell. And finally (in 1945) a moving-picture show version of Oscar's sole novel, THE PICTURE OF DORIAN Grayness, popped upwards with Hurd Hatfield, George Sanders, and Angela Lansbury.
Inevitably there was a softening of the censor rules for Wilde's comedies. And in 1952 Anthony Asquith did a lovely colored version of THE IMPORTANCE OF BEING Earnest. I think Asquith was copying the way he presented the motion picture from Olivier'south earlier HISTORY OF Male monarch HENRY V (1944), where we see the production at the World Theater in the 1590s transformed into the actual locals in England and French republic (really Ireland). Here we run across a wealthy couple sitting in a theater box in London, and looking at the program, and the mantle rises. But the scene immediately is more than like John Worthing'southward rooms at "the Albany" hotel in London, with his servants giving him a bath. Then the scene changes as we meet Worthing's friend Algy Moncrieff in the dining room.
Michael Redgrave is Jack, which is worth noting because Redgrave's film roles were unremarkably dramatic parts, not comic ones. He is non the bodacious snob that John Gielgud played on phase (reverse Edith Evans), which i can notwithstanding catch on recordings of his performance. Only he is deft in his role, as the ultimate admirer who is tragically bereft of normal parentage because he tin only trace his ancestry to the purse that he was abandoned in at Victoria Station.
Evans is the perfect Lady Bracknell (a "gorgon without a myth, which is quite lamentable", as Jack says). She is eminently supportive of the current status quo, willing to refuse Jack's want to marry her daughter Gwendolyn (Joan Greenwood), while willing to take his ward Cecily (Dorothy Tutin) for her relative Algy, every bit Cecily has a fortune of 130,000 pounds coming to her. Lady B is a snob, simply a pragmatist. When asking Jack about his politics, he says he is a Liberal. She says that does not matter, at nighttime she allows them to pretend they are Tories.
The ii young woman are fine, peculiarly in the scene where they think the other is trying to steal their boyfriend. Tutin's comments back at Greenwood are met with the approving gaze of the family butler (Aubrey Mather). But when both find their boyfriends are lying near their proper noun, they suddenly reject both Jack and Algy, and telephone call each other sister. Before Algernon had said that before women call each other sister they call each other by many other names - and he is shown to be right here.
One must also annotation the wonderful dual functioning of Margaret Rutherford as Miss Prism and Miles Malleson as the diffident Catechism Chausable. Both are by the age of real passion, but both are also attracted to each other - but their idea of a tryst is a walk in a garden, or Miss Prism going to the Vicarage. And Redgrave'southward final moments with Rutherford, when the mystery at the center of the play is virtually solved, is a wonderful send-up of Victorian melodrama similar EAST LYNNE about illegitimate children or shamed mothers.
An elegant, amusing trifle to this 24-hour interval - and a hint of what Wilde might have given us more than of had he not been wrecked by the constabulary and his lifestyle.
vii out of 8 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Definitive Earnest
'The Importance of Existence Earnest' is ane of Oscar Wilde's well-nigh best known works for very good reason, and among the wittiest, idea-provoking and mannerly plays ever written.
Have yet to see a better filmed version of 'The Importance of Existence Earnest' than this 1952 picture show. Non only that, but to me it is 1 of the essential filmed adaptations of any of Wilde'south works. It may be theatrical and stagy to some, with the touch on of the mantle at the start and finish of the film and the unfussy (in no way a criticism) cinematography reminiscent of a filmed staged play. In that location are films based on plays that can endure from this, but not 'The Important of Being Hostage', that it sticks to its theatrical roots is non only a large function of its charm but also one of the reasons why it works and so well.
Every bit an adaptation, 'The Importance of Being Earnest' couldn't be better. Almost all of the text is intact and in a style that's succinct and always cohesive rather than muddled or cramped. Even though at that place are alterations and omissions here and there, structurally Wilde's story and writing is very much recognisable so is the spirit, instead of resorting to extraneous padding, additions or character distortions that don't vest.
While not exactly expansive and decidedly unfussy, in no way is this a criticism of 'The Importance of Being Earnest', the picture is still beautifully shot in sumptuous Technicolor which does justice to the extravagantly opulent costumes and settings. Benjamin Frankel's music score is sometimes understated and elegant and also with an appropriate whimsy.
Despite a deliberately steady bear upon, Anthony Asquith's management is all the same controlled and polished. Under such a touch, the classic comedic story of manners, morality and morals is gently deliberate but still with a lively energy, largely thanks to Wilde'southward writing and a splendid bandage who give it everything they've got.
One cannot criticise the sparkling script, where Wilde's witticisms, wit, charm, whimsy, polished barbs and bons mots shine firmly to the fore. The cast are without mistake, with not a weak link. Michael Redgrave is composed and suitably fastidious, while Michael Denison enjoys himself in the more than colourful of caddish of the two. Joan Greenwood is charmingly whimsical and Dorothy Tutin delightfully coquettish, while one tin can count on Margaret Rutherford to steal scenes. Miles Malleson, Richard Wattis and Walter Hudd fare very well too. Upstaging (possibly) them all is Dame Edith Evans' battleaxe and hilarious Lady Bracknell, her quavering delivery of "a purse" existence a highlight of British cinema.
In summary, a wonderful moving-picture show that sees Oscar Wilde in his glory. x/10 Bethany Cox
v out of vi establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Best version of the play
The most contempo version of The Importance of Being Ernest changed the script! Whoever thought that they could write better than Wilde was sorely mistaken. This version, withal, is superb! Not merely is the total text in tact, simply Sir Michael Redgrave, known for his serious Shakespeare stage performances, shows how farce is best done when done "seriously". I dear this version, and am ecstatic that it is at present available on DVD. BRAVO!
52 out of 61 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Magnificent
An hour and a half of sheer delightful Wildean wit and word play. Lush Technicolor, brilliant acting. Edith Evans steals the show by going over the acme by carrying her 19th century style of stage interim just equally far as it can go, i.e., to the indicate of parody. I haven't yet seen the 2002 version, but i don't see how information technology can compare.
fifteen out of 18 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Well-nigh Perfect
Warning: Spoilers
This "Importance of Being Earnest" is a funny movie derived from Oscar Wilde's best play. There are no clunkers in the cast and inappreciably a wrong step is made, even when Wilde is altered.
Dame Edith Evans did not make her phase debut until fifteen years after "Earnest" first premiered, so Oscar Wilde could non have had her in mind when he created the office of Lady Bracknell; but she is and so perfect information technology becomes difficult to imagine anyone else in the part, ever. She manages to squeeze every notation of the music of human being language into simple words like "found" and "handbag."
Margaret Rutherford and Miles Malleson, two famous and prolific actors of the "British dotty school" come very close to existence ideal for their more than modest parts of (respectfully) Miss Prism and Dr. Chasuble.
For the young lovers, the women are well called and brand a fine contrast. Sultry-voiced Joan Greenwood has had a solid film career to this point (including the Alec Guiness classic "Man in a White Conform") and she knows how to evangelize a comic line. So new-comer Dorthy Tutin is and then adept with her lines, yous'd retrieve she was an quondam-mitt, rather than a fresh-faced, twenty-two year onetime newcomer making her first major film appearance.
The "young men" are sometimes idea of as more problematic. Michael Redgrave (unfortunately known these days more for existence the male parent of Vanessa and Lynn than for his slap-up acting) was in his forties. Mainly stage-bound histrion Michael Denison was in his thirties. Denison wonderfully limns the all-important character of Algernon Moncrieff. He'due south immature-looking and exuberant and delivers his lines with great care and consideration (Algernon is an easy graphic symbol to go hammy with and Denison avoids that trap).
For his office, Redgrave compensates for his historic period past an exquisitely-honed performance. Non merely is his commitment spot-on, he practically gives a workshop on how to get a laugh with a slight twitch of a mustache or the roll of an centre. Redgrave and Denison seem to exist having a high quondam time with their roles, while taking them seriously and never overacting.
Besides, be on the look-out for long-time supporting thespian Richard Wattis as "Seton." Blink, and you lot'll miss him, as he flits in to raise a supercilious eyebrow or two.
Some Wilde purists may object to the expurgation of lines. Many of the lines cutting are the sort of matter that probably just struck Wilde as "a good idea at the fourth dimension" and no i will miss them. Other lines may have been cut to keep this movie short, light and frothy. Wilde could be very funny, but he could likewise be unnecessarily cruel. I don't retrieve he would have been a overnice man to know, the way he could sling effectually hurtful lines to humorous event. All his characters have been accused of "talking like Wilde" -- which is truthful to different degrees. A few of the missing lines were 18-carat, polished gems and it was a compassion they weren't included. Also, the sub-plot of Grisby, which merely appears in longer versions of the play, does not rear its ugly caput in this short version (and proficient riddance). I, for ane, am glad they kept the motion-picture show light and without a mean bone in its body.
The movie has also been inverse subtly from the stage. The stage version has the action taking identify on a minimum of sets. The movie remains bound to the sound-phase and never really ventures out of doors (even in the outdoors scenes) but it adds a few more sets and more mobility. For instance, information technology begins in Jack's flat rather than in Algernon's. For me, this works even better than the phase version and gives Jack a skilful reason to throw one of Algernon'southward lines back in his face.
So, yous have a good play shorn of overmuch dialogue and a solid cast acting their hearts out. I don't know why I call it "Nigh Perfect."
8 out of 9 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Joker Is Wilde
Warning: Spoilers
This is, easily down, the definitive film version of Wilde's finest play rendering all others superfluous. Puffin Asquith made something of a specialty of adapting stage plays and his resume' includes Pygmalion, Quiet Wedding, Cottage To Let, French Without Tears, plus the definitive pic version (the Albert Finney remake was a joke) of the finest One-act play ever written, Terry Rattigan'due south The Browning Version, in which Asquith and Redgrave teamed up yet again. Michael Redgrave was the outstanding Stage player of his generation despite potent competition from Ralph Richardson, Johhny Gielgud and the overrated Larry Olivier merely for amend or worse he was associated with 'weighty' roles, particularly Shakespeare yet he possessed the lightest of touches when playing comedy as he demonstrates here where he leads a cast that would be hard if not impossible to eclipse. From all accounts Edith Evans' Lady Bracknell was one or two notches beneath her phase version in the 'classic' John Gielgud version of the play some years before and if that is so then the phase performance may well accept been out of this earth. The other Michael in the bandage (Dennison, as Algy) is not someone immediately linked with Wilde however he brings it off exceptionally well which may be hardly surprising given it was his impetus that got the project off the ground. Miles Malleson and the 'amateur' (when Redgrave dared to praise her standout performance as Madame Arcati at an out-of-town preview of Animated Spirit to the author, Noel Coward, he was taken aback when Coward seethed 'amateur' and changed the field of study) Margaret Rutherford complement each other perfectly whilst Joan Greenford and newcomer (in her film debut) Dorothy Tutin round off a bandage in which anybody has grasped the concept of speaking the Wildean epigrams with which information technology is studded as if they were the most bland clichés. Definitely ane to savor.
v out of 7 constitute this helpful. Was this review helpful? Sign in to vote.
Permalink
The all-time film of a great English language satire
As with all categories of movies, and their many subgroups, satire isn't for everyone. And, judging from a few reviews on IMDb, if one doesn't get the satire, the humor may be lost as well. But many of us practise relish satire – especially the wit and farcical spoofing in great works such as "The Importance of Being Hostage." So, the sense of humour isn't lost on usa in the satire, only is brought home boisterously and subtly, straightforward and past innuendo, in words and in looks.
Make no bones about information technology – this is a satire on loftier society of England in the late 19th century. The language, dress, customs and mores of the time are all office of the story. And then, they are dated, every bit they should exist. Any retelling of this work that eschews the fourth dimension-specific of the story, will naturally lose the satire. For, placed in a modern setting, or otherwise inverse, the satire of Wilde'southward play loses its seize with teeth and sarcasm; and the script so becomes just a running dialog of jokes or puns.
This 1952 rendition of Oscar Wilde's play is the best of any movie fabricated for presenting this satire as ane would hear and encounter it live on phase. I recollect the film even gives usa an reward over the stage. Nosotros can encounter actor's expressions quite vividly. Manager Anthony Asquith uses his excellent camera piece of work in many instances to testify us close-ups of a range of expressions in the reactions betwixt actors. These instances heighten the wit and humor of the barbs or bon mots simply delivered.
All aspects of this 1952 picture show are superior. The screenplay, cinematography, costumes, makeup, sets, and directing and editing are superb. But most of all, this film has an outstanding cast of actors – from all the leads to the smallest supporting roles. Each person gives something special to his or her graphic symbol.
The key focus of Wilde's satire here is in the person of Lady Bracknell. Edith Evans excels in the role of the domineering, nonsensical society matriarch. She gives hubris to the contemptible icon of high English society of the tardily 19th century. Her exaggerated portrayal fits well the obnoxious, despot that Wilde puts at the centre of his mockery of upper English society of the time.
The Michaels – Redgrave and Dennison, excel in their roles equally Jack Worthing and Algernon Moncrieff. They play perfectly off each other throughout the film. It'southward with Redgrave specially, that the humour of some of the witty lines is made all the more than laughable past the expressions we meet on his face. Dennison adds a very pleasing bounciness that gives life to the otherwise idle lifestyle of Algy. Only I think the ladies again steal center stage in this wonderful spoof. Joan Greenwood plays the all-time possible snobbish, pretentious, hilarious Gwendolen that I can imagine has ever been done live or on film. She is riotously funny every bit the snooty, arrogant and pompous object of Jack'due south romantic angel. And Dorothy Tutin gives an excellent portrayal of the demure, innocent but silly Cecily. She merely isn't quite the snob, nor is she quite as pompous, for her youth and lack of feel that Gwendolen has had.
The wonderful Margaret Rutherford is Miss Prism. She brings smiles to our faces with her humorous lines and expressions. And Miles Malleson is a nice match for her every bit Catechism Chasuble. Was Wilde giving us a touch of his wit also in the choice of some of the names of his characters? A chasuble is the outer vestment worn past clergy in the Anglican and Catholic churches. And a prism is a blazon of lens through which objects take on many dissimilar shapes and colors. The actors who play the butlers and man-servants are very funny in their roles too.
One other thing that bears comment is Redgrave's age. A couple of reviewers said he was too old for the office – although they liked him in it. Modernistic picture show buffs would do well to note that people – men, peculiarly -- 100 and more years ago generally looked much older than they do today. Since the mid-20th century, the physical appearances of Western men have gotten younger. Look at old high schoolhouse photos to encounter that near teenagers a century or more agone looked more mature than they practise today. Near 65-year-old men today don't show as much age as did 50-year- old men in the past. Then, the 44-year old Redgrave in 1952 could very probable pass for a man 28 or 35 in the previous century.
"The Importance of Being Earnest" is ane of the finest satires on society ever written and put on movie. And this 1952 motion-picture show is the best ever made of the dandy Oscar Wilde farce. It'south a wonderful treat from start to finish. Just I warn anyone who may not enjoy satire – you may find yourself laughing at lines you don't think should be funny.
5 out of 7 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Rather Stagy but Thoroughly Entertaining Version of Wilde's Play
Anthony Asquith's version for Rank announces its intentions right at the beginning, with a shot of an Edwardian-fashion theater and the drape rising on a proscenium phase. The camera zooms in on the stage, and the action begins. From so on Asquith is determined to remind us of the material'due south phase-origins: most of the scenes are shot either in shot/opposite shot or ii-shot sequences, focusing on the actors' expressions. His cast do non permit him downward: Michael Redgrave has a supreme range of facial expressions as he tries to deal with ever- changing (and often farcical) situations, contrasting starkly with Michael Denison'south more laid-dorsum Algernon Moncrieff, who views the unabridged action as a huge joke. The two younger women Gwendolyn (Joan Greenwood) and Cicely (Dorothy Tutin) are but wonderful; their cat- fight over Jack (Redgrave) contains several long takes, in which Asquith focuses as much on their reactions every bit their line-delivery; they effort to sustain a veneer of politeness, when it is articulate that they thoroughly dislike i another. Dame Edith Evans and Margaret Rutherford repeat the roles they already played in the classic stage productions in London during the 1930s and 1940s: Evans is thoroughly theatrical as Lady Bracknell, her line-delivery total of pregnant pauses and deliberate emphases "A HandBAAAAAg????" Rutherford is much less emphatic, her bird-like gestures and breathy delivery suggesting someone who has spent a lifetime repressing her feelings, just has at final discovered the chapters to love, as she has a (very polite) liaison with Dr. Chasuble (Miles Malleson). Mention must as well be made of Yvonne Caffin's costume- designs; she uses a garish colour palette (suggesting a lack of sophistication among the characters) and clothes the female characters in wonderfully overstated Victorian dresses. The size of Tutin'due south sleeves, contrasted with the shocking pink of Greenwood's parasol, is a wonder to behold. The sets (by Carmen Dillon) are as vulgar, each nook and cranny being stuffed with things, showing the avaricious nature of all the characters. While this version of THE IMPORTANCE might not work too well cinematically - it is best appreciated by those with a working knowledge of Wilde's text - it preserves for ever some performances which tin can only be described equally definitive.
five out of seven found this helpful. Was this review helpful? Sign in to vote.
Permalink
Truly definitive
This is ane of those very rare cases in which the entire production has a stamp of the definitive about information technology. Any other production yous are ever to encounter on stage or screen will very likely stake in comparison. An exceptional cast was assembled from the cream of the British theater of the time and nether Anthony Asquith'south direction, they one and all evangelize superb and definitive performances of Wilde's wittiest play. Pity the actor in future productions who has to obliterate the memory of this bunch.
Michael Redgrave and Michael Dennison share a delightful chemistry and Joan Greenwood with her uniquely dulcet tones and Dorothy Tutin are the platonic Gwendolen and Cecily. Margaret Rutherford is, equally e'er, a please and of form there's Dame Edith Evans.
Evans and then totally embodies Lady Bracknell that even the likes of Judi Dench and Joan Plowwright, (particularly weak), were distinctly lacking in tackling the role. Evans' haughtiness betrays an occasional cocky knowing humorous twinkle of the eye. Information technology's an hilarious and masterly functioning and a treasure to behold.
A production Wilde himself would no uncertainty have adored.
6 out of eight constitute this helpful. Was this review helpful? Sign in to vote.
Permalink
Elevation, meridian, tiptop of wit
Alert: Spoilers
The incarnation of perfection. It had been many, many years since I'd final seen this zenith, this quintessence of dramatic art and composition. Likewise the handbag, I especially recalled the exquisite dialogue during the al fresco tea-party of the divine lilliputian sisters, and even more especially the immortal line: "I asked for breadstuff-and-butter, and you have given me block." Naught since has e'er come up close to equalling that expression of reproach, tinged with pain and sorrow. Sixty years had passed, and I still remembered those uniquely thrilling tones of Greenwood, as they re-echoed in the ear of retentiveness.
I was but almost to express an opinion on this site, when I discovered that Youtube had posted the entire masterpiece, as recently as 27 May, this year equally ever is! And I have at present re-watched information technology, courtesy that tube, quite gratis, with immeasurable enjoyment.
Information technology is laugh out loud funny, to use a vulgar modern term. I was frequently in stitches. Directed with an impeccably light touch on by Asquith, it is a triumphant celebration of verbal fireworks. They glisten and scintillate. The settings are matchless. This is a work in the tradition of sparkling English language theatre, from Shakespeare, through Sheridan to the belatedly C19th, afterwards which, though briefly revived by Coward, information technology shrivels, droops and dies. Information technology is quite incredible to me that anyone could be so deplorably ho-hum as to award it fewer stars than any of the almost-ubiquitous trash contained in the IMDb top 250 list. Compare it with Lump, Stump and Ii Stinking Balderdashes, to see Great britain's sharp national decline
five out of 6 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Ernest In The Metropolis, Jack In The State
Warning: Spoilers
I've always felt that Oscar Wilde'due south work while practiced was better in parts than the sum of the whole. There isn't anyone with some degree of literacy who hasn't relished some delectable quote of Wilde's, either some offhand remark or a quotation from one of his. I'm willing to bet that Wilde has one of the largest sections in the English speaking world in Bartlett'due south Familiar Quotations.
But unlike his contemporary George Bernard Shaw who was prolifically writing things of social significance, Wilde took society as he saw it, wrote and amused his public virtually the foibles of same, but his characters have no neat purpose driving their lives. Ironically for Wilde it was his whole life and how he lived and loved that became the biggest question of social significance for him to bargain with.
Thus it is for Ernest Worthing and Algernon Moncrieff a pair of upper class aloof types who apparently don't put in a nine to 5 day, only flit about making observations of others in their station. But among other things that is uncovered is that Ernest is a foundling adopted past the Worthing family unit, thus making him not a suitable heir for the hand of Algernon's cousin Gwendolen played by Joan Greenwood.
A game Michael Redgrave as Ernest has been playing is discovered by Michael Denison every bit Algy. He discovers a cigarette case inscribed from Cecily to Jack in his possession and Dennison worms a confession out of Redgrave that when he occasionally goes to the land he assumes the identity of a blood brother Jack for his ward Cecily played past newcomer Dorothy Tutin. Denison is quite tickled by the whole thing and follows Redgrave out to the country pretending to be his brother Ernest. He too takes a liking to Tutin.
On this plot which is no sillier than some American film comedies hang some of Oscar Wilde's celebrated lines. Knowing they're coming is the treat here. Everything of class is rather neatly resolved in the end with nurse Margaret Rutherford making confessions that resolve everyone'south problems paternal and romantic and most of all social for the dowager head of the family Lady Brackenall played by Edith Evans.
When Wilde was abruptly stopped from creating by the mores of the Victorian public his similar was not seen by the English speaking world until Noel Coward who additionally performed likewise equally wrote. I've often idea that the simply reason Coward did not suffer Wilde's fate was that he had the skilful sense to cultivate royalty.
As for The Importance Of Existence Ernest information technology's a play about a lot of idle people who do say some of the cleverest things always written in English. It's bright and entertaining and the witticisms certainly haven't lost any border in over a century.
4 out of 8 found this helpful. Was this review helpful? Sign in to vote.
Permalink
One of my favorite plays
"The Importance of Being Hostage," one of my favorite plays, receives the heavy hand of Anthony Asquith in this film adaptation which stars Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin and Margaret Rutherford. Based on the Oscar Wilde play, it'south the story of a man, Jack Cardew (Redgrave), who leads a double life of sorts - he leaves his country house for the city to take intendance of his sick cousin Ernest, who doesn't be. Intrigued, his friend Algernon (Denison) pops downwards to the country firm as Ernest and meets Jack's ward Cecily (Tutin). The two declare their love for one another and become engaged. When Jack's fiancée Gwendolen (Greenwood) who but knows him every bit Ernest arrives, Cecily cheerfully announces that she is engaged to Ernest. Anarchy ensues.
Anyone who has seen "The Importance of Being Hostage" on stage knows that it is fast-moving and contains ane big express joy after another. Despite the wonderful cast, this film manages to squeeze every bit of life out of the play so that it becomes very ponderous and nowhere near every bit funny as it should be. I was extremely disappointed, as this play even reads better than it is performed here.
The but role that should actually get a big express mirth in this moving-picture show is Jack/ Ernest's statement that he was constitute in a handbag as a baby 28 years ago. Since Redgrave was in his forties when he made this film and looks every scrap of it and more, this argument is absurd. Alas, what should accept been a lightning-paced, mannerly movie is beautiful to look at and little else.
4 out of 8 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
The General Was Substantially A Man Of Peace, Except In His Domestic Life
Warning: Spoilers
Jack is in love with Gwendolen. His friend Algy is in dearest with Cecily. Both women want to marry a homo named Ernest, so the men have both pretended to their fiancées that they are called Ernest. Such deception in matters of the eye is surely ill-advised
In that location have been many adaptations of Oscar Wilde'southward classic comic play of loftier social club manners, but this is the timeless definitive one. It probably works best considering it doesn't actually try to be a movie, it's simply a staging of the play with well-baked early color photography and very trivial fuss. All of the chief cast are pretty much perfect in these roles; Redgrave's mannered, elegant, raised-countenance pomposity is irresistible. Dennison has a whale of a time equally the caddish Algy. Tutin and Greenwood are as fine a pair of English blimp prunes as e'er took high tea, and the e'er reliable Rutherford is a scream every bit the guilt-strewn Miss Prism. Undoubtedly top of the heap though is Evans equally the formidable Lady Augusta Bracknell. Evans had a whole career worth of phase experience behind her, and makes Wilde's much-historic battleaxe hilarious, terrifying, slightly sozzled and unforgettable. She has so many not bad lines it's folly to option 1, but I think my favourite is, "Ignorance is like a frail exotic fruit; touch it, and the flower is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no outcome whatsoever.". The terrific cast and elementary approach combine to deliver Wilde's sublime writing to the hilt. What I dear so much about this play is that not a line or give-and-take is wasted; everything is funny, nuanced, part of the story, part of the comic absurdity. I generally enjoy plays, but many could exercise with a lot of pruning (try getting through Act 4 of Male monarch Lear if you don't believe me). This on the other mitt is as shut to perfection every bit comic writing gets, every bit if Wilde had somehow worked out mathematically what constituted the most perfectly-formed funny stageplay. Okay it's maybe non for all tastes, only equally a brilliantly observed niggling dig at love and aristocratic foibles it's an absolute gem. My favourite ascertainment on Wilde is past Dorothy Parker, who said, "If with the literate I am / Impelled to try an epigram / I never seek to have the credit / We all assume that Oscar said it.". Draw the shades, make yourself a dainty cuppa, and enjoy this comic delight.
3 out of four constitute this helpful. Was this review helpful? Sign in to vote.
Permalink
***
Warning: Spoilers
Dandy comical overtones are depicted in this 1952 motion picture which is as well a test of morality, decency, and being about ethical.
The movie showcases the great performance of Dame Edith Evans equally the mother of Gwendolyn. Her examination of the quality of the suitor for her girl is hilarious at best since Evans exemplifies the true usual connotation that a future mother-in-law might possess.
The discovery at the end of the motion-picture show relating to the relationship of the ii guys is a very convenient but apt fashion of swaying Evans equally well as her change in attitude when she discovers that her hereafter daughter-in-law is quite an heiress.
A virtuous pic, well acted past all. Michael Redgrave certainly is not subtle here and Margaret Rutherford, every bit the attendant, who lost a child in her care years before, is a joy to watch.
2 out of iii found this helpful. Was this review helpful? Sign in to vote.
Permalink
Source: https://www.imdb.com/title/tt0044744/reviews
0 Response to "The Importance of Being Earnest 1952 Movie Review"
Post a Comment