Dorian Gray

2009

Drama / Fantasy

Synopsis


Uploaded By: Bokutox
Downloaded 54,418 times
September 23, 2012 at 2:47 pm

Director

Cast

Ben Barnes as Dorian Gray
Colin Firth as Lord Henry Wotton
Rebecca Hall as Emily Wotton
John Hollingworth as Patrol Policeman
720p 1080p
750.10 MB
1280*688
English
R
English
24.000 fps
1hr 52 min
P/S 5 / 35
1.50 GB
1920*1040
English
R
English
24.000 fps
1hr 52 min
P/S 3 / 24

Movie Reviews

Reviewed by Cs_The_Moment 8 / 10

picture perfect

i have to admit, i had my doubts about this movie at first. After reading the odd couple of reviews, i wasn't entirely sure if this film was for me. i am not a fan of horror and, like quite a few people i suspect, was put off slightly by the "horror" classification that most reviews seemed to mention. However, as it turns out, it is not like your conventional thriller.

i have never read the book, and so i cannot compare it to the film, but the story was extremely enjoyable. A young man who trades his soul to the devil in exchange for eternal youth and beauty, after seeing an incredibly lifelike portrait of himself, does not seem entirely unrealistic given todays cult of appearance-obsessed celebrity youth, and in fact most of the film stuck to the realms of reality. Set against a beautiful Victorian style backdrop of London, the film managed to mirror life through a visually delightful time period that managed to modernise itself in its content, and maintained a nice contrast between light and dark throughout.

I was also throughly impressed with the casting. Ben Barnes was the perfect choice for Dorian Gray himself, managing the conversion between the innocent young man, to the seductive charmer, to the fear-possessed psychopath effortlessly. Add that to the fact that he is breathtakingly perfect, and even as an audience you begin to be drawn into his youth and extreme beauty. Colin Firth was unlike anything i've ever seen him in before, much in contrast with his cheery "mamma mia" role, as he played Dorian's enticer, lord henry. Harsh and often sexist, he very much had a "frankensteins creator" character, desperately striving to corrupt Dorian's innocent nature. Ben Chaplain was also good as the creator of Dorian's special portrait, Basil. And then of course there were Dorian's two main love interests, Rachel Hurd-Wood and Rebecca Hall, both of their characters bringing contrasting characters to Dorian's affections.

As for the content of the film, it had what i believe most good films should contain - a shock. And it certainly shocked. It opens with a scene which you are certainly not expecting, but succeeds in capturing your interest for sure. It then falls into a kind of lull as we meet the innocent and gorgeous Ben Barnes, but then hypes up again as we are introduced to rude and obnoxious Colin firth. The film continues in this fashion for the majority of the time, with a few unexpected shocks along the way as Dorian begins his soul destructing spiral. There is obvious sexual content but it is certainly not excessive, and plenty of mild drug and alcohol abuse too, although again the film does not go overboard with these. Also, there is a reasonable amount of gore, although not enough to spoil your enjoyment of the film, and these moments are also fairly obvious and so the squeamish (including myself) can simply close their eyes during these short scenes. The only other thing to mention is the horror which occurs at the end of the film when Dorian's painting reveals his mutilated soul. I personally didn't watch this bit and would certainly recommend to those who don't enjoy being scared to not watch it either, as it is apparently rather intense, but again, it is also fairly obvious of when it will occur.

Dorian Gray is a fabulous, fast paced drama-thriller that provokes thought into our own "celebrity" lifestyle and the pressures we put on appearance, as well as a visual description of the price of eternal beauty on the soul. I would definitely recommend this film - it is truly picture perfect.

Reviewed by irisheyes317 1 / 10

Promising concept. Horrendous execution

It is inevitable that when any classic novel (Oscar Wilde's being no exception) is adapted for the screen, certain liberties will be taken to make it an engaging story to an audience present for 2 1/2 hours. In this 21st century execution, Oliver Parker includes an interesting theme certainly real in Wilde's Victorian era and widely discussed on the social AND artistic scene today: the failure of paternal figures. The longing for an admirable father figure serving as Dorian's ultimate Achilles' heel is a fascinating theory to draw from. It could've certainly presented itself as a unique theme to distinguish the film from Albert Lewin's 1945 version.

Unfortunately, this is all completely drowned in gaudy pornographic material (not dissimilar to the undoing of "Caligula"), overdone special effects, and terrible performances.

Ben Barnes is arguably a very promising actor who could've effectively played the role within a few years of performative maturity and growth. In this film, the lack of the aforementioned makes his acting painful to watch. At this stage, he simply lacks the severity and command of the famous character's evil to be believable. Barnes is weakly tossed from scene to scene and presents very little to persuade the viewer.

The most appalling performance comes from Rachel Hurd-Wood as Sybil Vane. It is perplexing as to why a more mature, capable actress couldn't be chosen to play the role instead. Hurd-Wood, probably due to lack of experience and performative maturity, is simply incapable of convincing anyone watching that it is a winsome, naive theater girl we're seeing. One of the first rules of acting is to live and be the role, NOT anticipate from line to line (which she does obnoxiously every moment she's on-screen) Mercifully, she's only present for 15 minutes of the film, but it's enough to be among the greatest of the film's flaws.

Not even the remarkable Colin Firth can save this travesty of a film, as his Henry Wotton fails to emit convincing sinisterness that his mere words will corrupt the young Dorian. When he illogically changes his tune in the film's final 15 minutes, it only leaves awkward confusion and embarrassment. Understandably, this could mostly be the fault of the director drowning character study in favor of saccharine visuals, yet Firth is certainly capable of doing better even when his characters have limited screen time.

Granted, a film discussing the theme of self-indulgent hedonism will depict occasional free love, just enough to get the point across as to what the central character is up to. Pornography running at the rate of every other scene, however, is too much. Parker has made the mistake assuming that this is necessary to appeal to a 21st century audience, figuring the vast majority lack the intelligence to have understood long ago that this is among Dorian's long list of vices. A few scenes of the character smoking opium in a burlesque was already serving this purpose. The theme then plunges into the annoying with unnecessary (and terribly performed) scenes of mid-ball rendevouxs and orgies that smack of pathetic attempts at convincing eroticism.

Another item to note: Wilde's novel was notably controversial during its time for its homeoerotic overtones. In this more tolerant age, the visual beauty of male characters and settings is enough to represent this very theme Wilde presented. The addition of an absurd snog between two characters (which not only strays from the plot's logic but also glaringly from the relationship dynamics depicted in the novel) once again betrays Parker's belief that audiences are too stupid to gather the homeoerotic elements already present.

A portrait that moans and emits maggots like a hungover zombie might frighten those who've been spared years of horror movie parodies. In watching this film, the scenes with the ever changing picture provide an embarrassing orientation to this, enough to have Wilde spinning in his grave. No sooner are syrupy pornographic scenes temporarily not on-screen than the film is dragged down again by overdone special effects that have been the undoing of many, many movies in recent years. A director of Parker's caliber should've been aware of this long ago. Thus, there is absolutely no excuse for this to be present in a film that is intended to carry a theme deeper than late 90's movie era eye-candy.

There are no words to describe how utterly ridiculous, even border-line laughable, the ending to this film is. In brief, it competes with the over-the-top, embarrassing ends of various characters depicted in "Van Helsing". Once again, visually (already mentioned as ruining this film). If Parker was attempting to end this picture with a bang distinguishable from previous versions, he renders it a complete joke.

There is certainly pornography available that costs less than the price of a movie ticket. Corny special effects 101 can even be obtained for free in many places. That said, anyone interested in this rendition of Wilde's work should save his money.

Oliver Parker has directed some exceptional films. This one, disappointingly, is greatly under par having resorted to cliche special effects reminiscent of cheap horror flicks and squanders artistic talent.

What a shame.

Reviewed by Cinema_Fan 5 / 10

Enjoy it for what it is: A picture show and nothing more.

The Picture of Dorian Gray, as penned by the Irish wit Oscar Wilde (1854 - 1900), is a tale of high-brow debauchery and limitless pleasures of body and soul and the corruption, by one Lord Henry Wotton, of the young, handsome and soon to be narcissistic 19th century rock 'n roll hell-raiser Dorian Gray.

Ealing Studios have translated Wilde's controversial novel into a celluloid den of iniquity that somehow comes across as rather shallow. Like the characters seen here too; it seems that as a work of symbolic gesture of how the upper classes conduct their sordid lifestyle of hypocrisy, deceit and lust it lacks any deep and thoughtful intrigue that any good 19th century Gothic horror story should be.

To fully understand the ethics of a Victorian London that Oscar Wilde has so wonderfully reflected with his novel here, we see, too, with this latest interpretation using, as Wilde may have done, the picture purely as a metaphorical means. Yes, we see the selling of souls here and the lamb to the slaughter and the hedonistic teachings of Lord Wotton, but toward the end, the whole sordid affair becomes predictable.

Penned with an undercurrent of realism and too fantasy of the love of sin. It's a dark, dirty, dingy setting of a self-indulgent Victorian London that we are lead to believe is prim and proper on the surface but lurking just below this weak, temperate society lies pure greed, greed for experience, experience that will transcend the mind, body and soul to the wondrous dealings of what life has to offer. For, as always, a price, a price both Oscar Wilde and Dorian Gray would pay the highest sacrifice.

It is with a taint of sorrow that this latest performance too has paid a price too high, sensationalism over content, ironies aside, the film seems too concerned to show the sordid details of this lifestyle and its inhabitants'. It lingers on too far in the bedrooms of London and strays too far from the mental anguish that may have been. We see the trouble mind of our young (looking) man but we see not enough of his fears, regrets, sorrows and repentance, which are cast aside and squandered. Welcome to the 21st century Mr. Wilde.

By the time the chimes of time are echoing in the distance we have Dorian fading into the far reaches of the eternal abyss of the afterlife. With all the time in the world we are still wanting more to feed our palates, it's all to aesthetically pleasing, but at the same time oh so unrewarding, a taster we are given but the full flavour we are, regrettably, spared.

This too may have its target audience and in so having picked its target out it may have trouble standing the test of time, due to its lack of wit, lack of diversity and a lack of daring and commitment of its original source. It is a sad loss that such a literary work of historical meaning and wealth should have been robbed of its qualities.

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