User reviews

Elegant, atmospheric and measured. I suppose anyone brought up on fin de siecle Hollywood would interpret that as `slow and boring'. But this was Hollywood tackling an intellectual piece with, well, intellect. I must confess that the thought of a 1945 Hollywood attempt at Oscar Wilde did not appeal. Memories of one or two previous efforts at English literary classics set alarm bells ringing. But this was in a class of its own. Beautifully photographed in black and white, apart from a couple shots of the painting itself, the aesthetics shimmer.

I wasn't that convinced about some of the London scenes, especially the low-life portrayal of the East End. The opium den and the `Two Turtles', where Gray first meets Sibyl Vane, look rather too genteel. Compare this view of such places with those created by David Lean, just a couple of years later, in `Oliver Twist'. And this, in a sense, detracts from the depths to which Gray descends in order to be forever youthful and live life with scant regard for others. And in many years of watching BBC Victorian costume dramas I don't recall seeing such outfits on the backs of London's society ladies! However some of the other detail is first class. In particular Sir Thomas's decision to remain at table (`never could resist Aunt Agatha's quails') in spite of Lord Henry's outrageous comments rings true through to today. As the script had it `think like a Liberal, eat like a Tory'.

The acting is excellent with Hurd Hatfield's portrayal quite remarkable in that he wears the same expression virtually throughout, in order, no doubt, to conceal his true emotions. George Sanders, as Lord Henry, steals every scene he's in thanks to a rapid delivery of Wilde's witticisms that would have Groucho Marx and Woody Allen in awe. Angela Lansbury is, perhaps, a little too demure for a theatrical singer from the East End but, no doubt, this was a result of director's orders.

Essential viewing for anyone interested in the history of film.

Based on a story by Oscar Wilde, The Picture of Dorian Gray tells the story of a man that sells his soul for eternal youth. After having his portrait done, Dorian Gray, under the influence of the eloquent Lord Henry Wotton, wishes for the picture to age instead of him so that he may be blessed with eternal youth. After the death of his wife-to-be, Dorian embarks on a life of pleasure and sins, which don't affect the man in the slightest, but leaves it mark on the portrait which descends into a horrid impression of the handsome young man it's portraying...

This film is fantastically well put together. The acting, directing and writing are all stellar, which make this film one pleasant viewing indeed. The real plaudits for this movie, however, go to the writer of the original novel; Oscar Wilde. The story itself is ingenious. Of course, the idea of selling one's soul had been done before (the German legend, Faust, springs to mind instantly), but never in this way. The portrait itself is a genius idea and it allows us to see the man and the sin as different things. However, through it's ending; it also allows the audience to see that the two are linked, and overall giving a good commentary on body, soul and sin. The story has obvious themes of vanity and the lust for eternal youth entwined within it, both of which are sins in themselves. The main character of Dorian Gray is a man that is a victim of influence, and we can feel for him in that way; but he's also an ugly sinner on the inside, making the audience hate him. This is a strange situation for an audience to be in, and in the end; all that's left for him is indifference.

The film moves slowly, but this is definitely to it's advantage as it allows us to get to know the characters, and if it wasn't for that the horror wouldn't be able to work as it needs our emotional impact to function. The horror in the story is rather subdued, but this is one of the most horrific tales ever told. I think most people will agree that this kind of horror - the brooding, personal kind - is much more horrifying than anything that men with knives and any amount of jumpy moments can muster.

It is a mystery. Or is it mind over matter? The power of a mysterious painting depicted in this timeless tale of Oscar Wilde's imagination -- probing the depth of life's meaning.

It's costume drama, story began in London 1886. Definitely has an element of intrigue -- "a painting with a life of its own". It's eerie. It's dramatic. Its theme is scary. Such is a "deadly" wish of the main character, Dorian Gray: "If only the picture (a portrait of Dorian Gray) can change, and I can always be as I am now. I'd give my soul for that." Dorian Gray's obsession with youth became eternal youth.

Imagine that as time goes by, he will always stay the same rich attractive young man that he is -- never grow old, while the picture will take on the changes -- his soul and character. Conscience, no longer he has -- the picture took it on. The story describes how Dorian Gray spends his life henceforth and the consequences that entail.

A very young Angela Lansbury, after her debut in George Cuckor's 1944 "Gaslight", portrays the innocent young actress Sibyl Vane from the poor side of town. The bet between the characters of George Sanders and Hurd Hatfield brought to mind the cruel intentions of Neil LaBute's 1997 "In the Company of Men". George Sanders is the cynical callous Lord Henry Wotton. The events all happen in a seemingly civil manner, immersed in the society of the rich. Have and have-nots are juxtaposed.

The film is essentially in Black and White, with only the specific content of the picture of Dorian Gray in color when we see it through Dorian's eyes.

It's another B/W classics gem, well-cut and impeccably presented. It encompasses sentiments and all elements: mystery, intrigue, love lost, friendships, regrets, and fear. Dorian Gray with a tormented inside -- pining for the return of his soul. Is this the Devil's advocate? You see no hell depicted as in Vincent Ward's 1998 "What Dreams May Come", or Woody Allen's 1997 "Deconstructing Harry" or Taylor Hackford's 1998 "The Devil's Advocate". No glamorous, elaborate take on the Devil, but the atmosphere provided that suggestion. There's no special effects, yet you can feel the twistedness: a man asking for help within yet unable to help himself because he's a lost soul. The temperature of the movie seems like being in 10 degree Celsius -- cold in sentiment and tone. There was a glimmer of warmth -- it flickered and faded with the innocent Sibyl Vane character.

The subject matter is timeless even though the film was made in 1945. The story is fascinating in spite of the pace which may not be at breakneck speed as in today's action packed, sound effects filled movies.

You can say it's pseudo sci-fi -- a foreboding tale it is. By and by, Dorian Gray's unchanging mask-like face reminds me of "Mr. Sardonicus" (William Castle's 1961). His behaviors are no longer placid -- gradually turning into hideous evils. This film questions one's probity. The mystery of life is to live it not to attain immortality. How uninteresting it'd be to be changeless and ageless? (John Boorman's 1974 sci-fi "Zardoz" with Sean Connery and Charlotte Rampling came to mind). Growth and change are intrinsic elements of life. Life and death go hand in hand cyclically. A truly worthwhile effort from writer/director Albert Lewin.

One of my personal favorites of films of the '40s is this visually striking version raising the art of black-and-white photography to new heights. The sets and costumes and deep-focus photography combine to make even more absorbing the story Oscar Wilde tells of the man whose portrait decays as he himself remains forever youthful. Hurd Hatfield never had a better role and he makes the most of it. George Sanders, Angela Lansbury, Donna Reed, Peter Lawford, Lionel Gilmore, George Sanders, Morton Lowry and many others contribute to the overall excellence of the acting. The period atmosphere of late-Victorian London adds much to the slowly growing horror of the tale. Complaints by others on this message board that the film is too slow or too talky are foolish. If you want action and special effects, see a Clint Eastwood or Bruce Willis film--forget this. But as a compelling and psychological study of a man influenced by evil (personified by George Sanders as Lord Henry), this version is better than any of the others made since. It's chilling, the way Wilde intended, and no one could deliver his cynical yet witty observations about human nature better than George Sanders. By all means, an outstanding film. Should be required viewing as a study of the art of black-and-white cinematography.

Hurd Hatfield sells his soul so that his portrait ages and reflects his evil while he stays young in "The Picture of Dorian Gray," based on the classic novel by Oscar Wilde. The film also stars George Sanders, Angela Lansbury, Donna Reed, and Peter Lawford. After wishing to stay young forever and falling prey to the words of a cynical friend, Gray goes against what might have been a decent nature and embarks on a vicious life that brings cruelty, sadness, and even death to those with whom he interacts.

The film is striking for several reasons: There is very little of what one would call action; many scenes are quite short; the film relies heavily on narration; the leading man's face remains impassive throughout. This could have been a recipe for disaster, but instead, "The Picture of Dorian Gray" is an extremely compelling film. This sumptuous production is meticulously photographed, with wonderful use of shadows which help create a dark atmosphere. The performances are excellent, particularly those of a very young Angela Lansbury and George Sanders. Peter Lawford and Donna Reed are the beautiful young things who don't have to depend on a portrait for youth.

Hurd Hatfield surely had one of the strangest faces in film - he certainly looked the part of a young, almost pretty Englishman, with his unlined face, high cheekbones, and full lips. As the role dictates, he was appropriately detached and lacking emotion. Six or seven years earlier, this role would have been perfect for Tyrone Power, who would have imbued it with more charm - making the evil inside Dorian all the more difficult to accept among his friends, and thus, his true personality would have seemed more treacherous. Given the way Hatfield played it, I had no problem believing he was capable of anything, and wondered why his friends didn't buy the nasty rumors.

As for the portrait - what a concept. Would that we all had one in our closets. It would put plastic surgeons out of business.

Like 'The Importance of Being Earnest', Oscar Wilde's only novel 'The Picture of Dorian Grey' is one of his most famous works for very good reason. It is philosophical essentially in nature, but also very chilling, dripping in atmosphere and full of Wilde's sparkling wit.

This 1945 film adaptation had so much going for it, with the involvement of great actors like George Sanders and Angela Lansbury for one thing. 72 years on, it's still one of the best overall versions of 'The Picture of Dorian Grey' there is/. Surprisingly, for film adaptations of classic literature made in the "classic era" it's pretty faithful, but 'The Picture of Dorian Grey' (1945) is actually even more successful on its own terms.

It may not be flawless, but it comes close. Donna Reed's character feels very tacked on and Reed, despite looking radiant, looks, sounds and acts out of place. Peter Lawford, in an admittedly limited role, spends his entire screen time looking bewildered and like he had little idea what to do with what he had.

Don't on the other hand let the pacing put you off. It is deliberate and measured, but to me it was never dull or too slow. The atmosphere, the performances and Wilde's dialogue were instrumental in making the film compelling and they shine brilliantly.

Visually, 'The Picture of Dorian Grey' (1945) is notably striking. As elegant as the costumes are, how classy and moodily atmospheric the lighting is and how sumptuous the Gothic set design is, it's the outstanding cinematography (that enhances everything so much) that's the star. The music score is resolutely haunting, also with inspired use of Beethoven, Mozart and Chopin, and the direction has immense sophisticated style.

Wilde's writing shines firmly to the fore as one would expect, some great lines that have full impact. Even with more measured pacing, the storytelling is rich in chilling atmosphere and class with the impact of the portrait having a truly startling effect.

All the acting is very strong and one of 'The Picture of Dorian Grey's' best elements. Sanders has the best lines (classic Wilde witticisms and cynical but witty observations) and the most interesting character (like a human Mephistopheles Oscar Wilde-style), and Sanders' performance is very like his Oscar-winning performance in 'All About Eve' five years later, a once in a lifetime role that he was born to play and it is difficult to imagine anybody else deliver those lines the way Sanders did so effortlessly. Lansbury is both chirpy and touching, plus she has rarely looked so young or more beautiful, her rendition of "Good Bye Little Yellow Bird" wrenches the heart also.

Hurd Hartfield's muted performance may be unimpressive or controversial, and it is easy to overlook him in favour of the juicier supporting roles. To me though, the mute inexpressive quality of his acting added quite vastly to the deceptively chilling nature of the role itself. Lowell Gilmore also stands out.

Overall, a near classic and one of the better film adaptations of Wilde's work, if one is looking for elegance, atmosphere and great production values, writing and performances look no further. 9/10 Bethany Cox

With two English speaking nations, there is always a dilemma from a Hollywood producer's point of view on how to maximise the most important worldwide gross (which comes from the U.S.) when filming classic works of English and European literature, whilst attempting to stay true to the spirit of the original book.Inevitably a compromise is reached and American actors known to the U.S. public are hired in central roles to lure the punters into the movie houses, e.g. Charlton Heston in "El Cid" and "Khartoum", while the resident Hollywood British acting fraternity are hired to lend authenticity to certain key roles.We film purists must accept the facts of Hollywood life and look for our art in more parochial productions with a cast of indigenous actors produced from our own home tv networks.On the other hand in the long run does it really matter what nationality the actor is so long as their performance is credible and you enjoyed the production?In modern times we have had "Coals to Newcastle" in the shape of Gwynneth Paltrow in "Emma" and Jennifer Ehle in Pride & Prejudice.Both American ladies playing utterly convincing roles of English ladies on films produced in England!

I just had to comment on this the most popular of the filmed versions of Wilde's masterpiece which was published in 1890 and has attracted at least 14 versions alone listed on Imdb from 1910-1977.Said to be an analogy of Wilde's life, this version from 1945 espouses most of his sparkling epigrams via the rather rushed mouthpiece of Lord Henry Wooton (George Sanders).Dorian Gray (Hurd Hatfield) portrays the unemotional, narcissistic central character who enters into the sub Faustian pact of eternal youth for his soul.In this role there seems some contraversy by the reviewers below on how effective he was but the fact is it remains his most notable role.Sir Cedric Hardwicke narrates the fill-in literary details quoted from the book and Albert Lewin gives a suitably creepy direction.As quoted in some of my other reviews I always like to spot bit part actors in some of the minor character roles and once again I espied Billy Bevan (c.f. "Cluny Brown" 1946) as Sybil Vain's father playing the m.c. at the East End music hall.

I especially liked the colour painting of the decayed Dorian Gray by Ivan Allbright.Imdb trivia informs us that this painting took one year to complete.Angela Lansbury spent a lot of her formative Hollywood years playing her native British role - (see also "Gaslight" 1944 and "Kind Lady" 1951) but as one reviewer remarked, she seems a bit too demure for someone reared in the East End of 1886.I must add a word of congratulation on the excellent indoor set of Dorian's grand Mayfair town house, although the rather quaint Hollywood idea of late 19th century East End comes over as artificial, would that David Lean had been consulted!

Wilde's great literary style shine's through nevertheless and this is an eminently watchable production.I rated it 7/10

The Picture of Dorian Gray is directed by Albert Lewin, and he also adapts the screenplay from the novel written by Oscar Wilde. It stars Hurd Hatfield, George Sanders, Angela Lansbury, Donna Reed, Peter Lawford, Lowell Gilmore, Richard Fraser and Douglas Walton. Music is by Herbert Stothart and cinematography by Harry Stradling Sr.

Dorian Gray of Mayfair and Selby.

Oscar Wilde's Faustian tale about a young Victorian gentleman who sells his soul to retain his youth is given a magnificent make-over by MGM. Pumping into it a budget reputedly of $2 million, the look and feel is perfect for this macabre observation of vanity, greed and self destruction. In many ways it's still an under valued movie, mainly because there will always be Wilde purists who think it lacks the writer's poetic spikiness, while horror fans quite often venture into the picture expecting some sort of violent classic ripe with sex, drugs and debauchery unbound.

Lewin crafts his film in understated manner, never allowing the themes in the source material to become overblown just for dramatic purpose. He cloaks it all with an atmosphere of eeriness, thus keeping the debasing nature of Dorian Gray subdued. The horror aspects here mostly are implied or discussed in elegantly stated conversations, where the horror in fact is purely in the characterisation of Dorian himself. We really don't need to see actual things on screen, we are urged to be chilled to the marrow by his mere presence, and this works because Lewin has personalised us into this man's sinful descent by way of careful pacing and character formation.

There are some jolt moments of course, notably the famous inserts of Technicolor into the black and white film, the impact of such bringing the portrait of the title thundering into our conscious. However, this is not about thrill rides and titillation, because the film, like its source, is intellectual. Lewin is aided considerably by Stradling's beautiful photography, which in turn either vividly realises the opulent abodes or darkens the dens of iniquities, so just like Lewin, Stradling and the art department work wonders and prove to be fine purveyors of their craft.

Hatfield is wonderful, it's an inspired piece of casting, with his angular features and cold dead eyes, he effortlessly suggests the black heart now beating where once there was a soul. Yet even he, and the rest of the impressive cast, are trumped by Sanders as Lord Henry. Cynical, brutal yet rich with witticisms, in Sanders' excellent hands Lord Henry becomes the smiling devil like mentor perched on Dorian's shoulder. Dorian and Lord Henry are movie monsters, proof positive that not all monsters need to be seen hacking off limbs or drinking blood. In this case, the decaying of the soul is a far more terrifying experience.

Fascinating, eloquent, intelligent and frightening. 9/10

Having only been familiar with Oscar Wilde's plays, The Picture of Dorian Gray was a real eye opener to me. For all of Wildes seemingly cavalier and flippant attitudes towards life and especially the moneyed class, this film showed a whole other side of his character. There were traces of classic Wilde in some of the characters, especially George Sanders, Moyna Magill, and some of the other "idle rich" characters who seemed to thrive on gossip, good food, fine wine and juicy scandal. But, the other characters like Sibyl Vane, her brother James, the artist Basil and David all showed a vulnerability, a sensitivity, a truthfulness that played well against the artificiality of the moneyed class. While I found the character of Dorian intriguing, the portrayal of him by Mr. Hatfield was at best one dimensional. Thank goodness for the voice of the narrator or I would never have known what the character was thinking. In truth I enjoyed the film mainly for the prescence of Ms. Lansbury. I have been a fan of hers for a number of years and enjoyed her many screen performances immensely. Her portrayal of Sibyl is touching, sincere and believable. The scene where she gets Dorians letter ending their relationship is absolutely riveting. While she has no lines, you can clearly see every emotion running through her mind on her face. It moved me to tears and her actions that follow are completely true to the character. The film was a great lesson in the price of getting what one wishes for and how vanity can destroy ones life and the lives of those he cares for. For these reasons I do think The Picture of Dorian Gray is well worth viewing.

It's hard to say what it is about "The Picture of Dorian Gray" that I enjoyed so much, but I did like it. Hurd Hatfield at first seems miscast and ineffective as the titular character, but somewhere around the one hour mark, his one and only expression begins to grow on you until you feel just as unnerved by his presence as those who come in contact with him in the story. George Sanders--from what I've seen--played one character his enter career but played it so well, and his performance in this film is no exception. Angela Lansbury is surprisingly sympathetic as the sad and timid singer. The only one in the cast who really doesn't work is Donna Reed. Her character feels tacked on, and she isn't allowed to do much but look faithful and beautiful.

The film is shot wonderfully, and Harry Stradling's cinematography gives the East End scenes a dark, atmospheric counter balance to the rather plain and flat interiors of Dorian's home. The swinging lamp was a nice touch and reminded me of "Psycho"'s finale.

I suppose my only criticism is toward the end, the story introduced one or two characters without giving them proper context or background (I'm thinking of the Allen Campbell character). I'm assuming Dorian "convinces" him to take part in his plans because of some sort past homosexual tryst, but it seemed unfair to bring him in they way he was, have him serve the role he does, and then disappear so quickly without explanation. And speaking of suggested themes: Is it just me, or could you make an argument that Dorian is Jack the Ripper? Maybe it's actually pretty obvious or maybe I'm just interpreting too much into the story, but that's what I got out of it.

P.S. I had the opportunity to see the actual painting from the film during an Ivan Albright exhibit at the Metropolitan Museum of Art in 1997. It's even more gruesome in person.

Director Albert Lewin also adapted Oscar Wilde's famous book for the screen, in which a London society gentleman of around 22 years has his portrait painted in 1886; wishing at the time he could trade his soul for eternal youth, and have his painted likeness absorb his years of living and sinning, the man remains youthful in appearance for the next two decades. More than efficient, Lewin's screenplay poetically combines Wilde's poison pen prose with both eloquent and witty characters, though the lack of light frivolity causes the midsection of the film to drag. Nevertheless, a highly dramatic and absorbing entertainment, with Hurd Hatfield effectively placid and hypnotically foreboding in the lead (he looks like an effeminate vampire in his many tuxedos). Angela Lansbury is also a stand-out, and received an Academy Award nomination, playing a lower-class nightclub performer desperate for romance. Harry Stradling won an Oscar for his superb cinematography. *** from ****

This wonderfully atmospheric retelling of Oscar Wilde's chilling novel is one of the best horror films ever made. It outdoes DRACULA and FRANKENSTEIN because it is about a man -- not a monster. Yet the monster IS the man -- and hides within all of us. The story works even more effectively than the similar plot in Robert Louis Stevenson's STRANGE CASE OF DR. JEKYLL AND MR HYDE because here we have the dual sides of a man portrayed not as two separate characters but as two reflecting images -- like two mirrors facing each other, sending the images out to infinity. The painting itself is one of the most horrifing images ever created in films -- a surreal reflection of what each of us can become if we lose our humanity and replace it with careless egotism.

Angela Lansbury at her most beautifully, sensuously, and vulnerably innocent!

Although sparse treatment of minor characters and some noticeable deletions from the novel (due to the straight-laced, 1945-ish treatment of certain of Gray's more perverse and debauched atrocities) may be "intrusive" to fans of Wilde's disturbing (but often delightful) descriptions of the more colorful of the late-Victorians' tastes in sensual depravity, this production is a fine example of the careful writing, thoughtful directing, and the control of character Hollywood's artistry could (seldom so successfully) proffer.

Despite George Sanders' somewhat stilted and--in modern terms--"out of the moment" portrayal as the film opens, within ten minutes or so the audience meets the serenely enchanting Hurd Hatfield's rendition of the title character, and the artistry begins. Once Hatfield enters the film the supporting performances become increasingly effective, and the remainder of the production, including Sanders as "Lord Henry," reach almost mythic proportions.

With near-perfection, The Picture of Dorian Gray (1945) delivers Wilde's portrait of Narcissistic and perfidious sensuality--the delight and desire of the suppressed and decayed late nineteenth-century Victorian elite-- . . . or, . . .

as Sanders quotes Wilde: "To get back my youth, I'll do anything except 'get up early, take exercise, or live respectably.'"

A man sells his soul and the results are tragic, not only for the man but for everyone around him. Yet no one knows that he sold his soul, because on the surface he is quiet, urbane and seemingly respectable, which is what makes this movie so chilling. For who can say what's going on INSIDE a person, below the veneer of civility and social formality? "The Picture of Dorian Gray" deals directly with this question and presents to the viewer a situation involving a man who is emotionally torn apart, and a profound hypocrite as well, yet on the surface seems completely intact. It is only through the picture noted in the title that the viewer finally perceives the depth of Gray's moral corruption, and by then it's too late. The cynical commentary of Lord Henry Wotton adds to the dark and foreboding mood of the movie, as the Wotton character explains what is happening to Dorian as Dorian sinks lower and lower into the abyss from which there is no return. As the saying goes, appearances can be deceiving.

Terrible, yet oddly fascinating. It's all too bizarre to be boring though whatever merits Oscar Wilde's original novel may have had, they are missing here. (What was the dark secret between Dorian and Alan Campbell? God forbid that we might perceive there to be anything of a homosexual nature in it; this was 1945, after all). The director, Albert Lewin, had a kitsch sensibility that suited the material, (it's full of Eastern promise), though the decadence is a bit thin. The Oscar Wilde character is represented by George Sanders' Lord Henry Wotton and he speaks the epigrammatic dialogue as well as anybody and Hurd Hatfield, in his first, and really only, major role is ideally cast as Dorian; he's blank and looks like a waxwork dummy rather than a living person. He's ageless alright. And a lovely young Anglea Lansbury is touching and unquestionably right as Sybil Vane. Lansbury never looked this young in a movie, (the year before her maid servant in "Gaslight" seemed plump and old before her time), and she works wonders with the music-hall song 'Little Yellow Bird'. Harry Stradling's superb black-and-white cinematography won him an Oscar. At times you think you think you are watching a much better film than you really are.

It was nice to travel back in time - to three timelines.

The first being my youth, the 1980's when BBC2 used to play horror films late on Friday nights. I would get a coffee and either cuddle-up in a warm bed watching my portable black and white set or be sat in the living-room with mother and the colour telly. I do believe it was on one of these nights I first watched The Picture Of Dorian Grey.

So rewatching this gave me a nice warm "bygone days" feeling.

Secondly, back to the glory days of the black and white movie, and the masters of the dramatic. And Thirdly, to the period of the tale, itself.

Albert Lewin, who also wrote the screenplay, does a superb job of the directing. This is a story of contrasts. Not only day and night but good and evil. The day and night scenes are coped with by superb lighting techniques. Even today with all the new technology, night scenes can often be so dark you cannot make out anything but the blackness. Everything and everybody was visible and on show. Even when you were in the dark streets of London or the lightless room where the portrait lay hidden. There are some nice gaslight shots too. All of this builds to a great and eerie atmosphere. The good and evil are mainly dealt with in the way of speeches and narration. There are no overly gruesome scenes. These are all saved up for the reveals

What I did love was the cat. The Egyptian deity said to bestow wishes. The artist, Basil Hallward (Lowell Gilmore) passes the statue onto Dorian along with his portrait after Dorian wishes to stay young while his portrait changes. I never noticed this before but the cat always stares at the portrait. Wherever the miscreant moggy sits it looks towards the portrait. When Dorian hides the picture at the top of the house you see the cat has been moved to the table. From this vantage point, it can observe the locked door at the top of the stairs, which the picture resides behind. Clever little touch.

The main drawback, I found, was the narration. This was by Lord Henry Wotton (George Sanders) who mainly described the off-screen emotions and happenings of Dorian. The trouble here is that Lord Wotton wouldn't and couldn't know most of what he's narrating. But Sanders' voice was an excellent choice as there are a melancholic sadness and eeriness about it that added to the power of the film. Okay, so here's the thing, the narrator wasn't Sanders but an actor named Cedric Hardwicke - this I never knew until IMDb as he's uncredited. Hardwicke does sound like Sanders, so was this the intention? Is it meant to be Wotton narrating or a stranger telling a story? Ah, well it was only a minor niggle anyways...

Sanders' was also the perfect choice for Lord Wotton as he comes across aloof, stoic, and self-centred. A man who knows his own mind and cares little what others think. He is on top form as every movement and nuance speaks of this.

I'm not sure that Hurd Hatfield was the right choice for Dorian. There are times when he gets the character exact, however, at other times, he misses the mark. The piano and kiss scene between Dorian and Sibyl Vane (Angela Lansbury) is near perfect. He appears to have a cold indifference towards Sibyl but he's played their relationship perfectly. She's the fly to his spider. All the while, you're never really sure if he cares for her, let alone love her. Then there are the times when he's alone. He appears passive, blank, as though made of wood. I'm still not sure if the director wanted this as part of his character but it didn't work for me.

Out of the two female leads, Angela Lansbury as Sibyl Vane and Donna Reed as Gladys Hallward, it is Lansbury who gives the better performance. This could be because there's more meat on her character than Reed's and gives her more to work with. Because Sibyl is a quiet and personal lady who keeps to herself, most of her communicating is done with eye contact and body language. Lansbury is great with this. She is no slouch with putting the persona of the character into words either.

Donna Reed is good as Hallward but not too memorable. In truth, the young actress who portrayed her when Dorian sat for his portrait had more screen presence, shame she's not mentioned in the cast list.

This is not a scary film, though it does sit well in the horror genre, as it's full of supernatural aura. For the time, the shock of the revealed portrait as well as Dorian's transformation would have stunned audiences, made them feel uneasy, and a little queasy. Today, however, we see worse on daytime telly. What you do get is a grey-matter simulator. A film that can open up ideas and encourage discussion. Not just about if you liked the film or not, but about the subject matters broached in the script.

Overall, this is a slow creeping tale that should insinuate itself in your soul and leave you a little cold... and hopefully, a little wiser.

This is an excellent example of the kind of period piece that MGM did better than any other studio. I saw the film when it first came out, and the other night viewed it for only the second time since then. Oddly enough, what stuck with me most during the long interval between first release and videotape was not the changing portrait, but Angela Lansbury singing the sentimental Victorian ballad Bye-Bye, Little Yellow Bird, as well as her heart=wrenching performance, which I believe was her screen debut. MGM gave her only one more opportunity to shine as a contract player, in another period piece, Gaslight. Who could have guessed her future success on stage and television? The first half of the film has continued to engross me, probably because much of the dialogue came directly from Oscar Wilde, and was delivered in exactly the right tone by George Sanders. In my opinion, the tension was built up admirably, beginning with Dorian's prayer to preserve his youthful beauty, until we saw the changed portrait for the first time. After that, the suspense was gone, and what was left was a conventional period piece, with Sanders virtually absent, Donna Reed totally miscast as a British aristocratic,(no one could have guessed her future, either) and Peter Lawford looking as though he wondered what he was doing there in a role not at all developed. I would rate the first half at 10, the second at 7, so I compromised on 8.It's worth seeing.