Wilde is a genius at the end of the nineteenth century, and "Portrait of Dorian Gray" is a work he devoted his efforts and secrets to. The plot of the story, like many Gothic novels, is already fascinating in itself. With the faces of several famous actors and eye-catching posters, it is not a problem to make a lot of money at the box office. As far as this year's adaptation is concerned, although there are many bright spots, the shortcomings are also obvious.
In a huge Hollywood theater, it should not be difficult to find a beautiful guy, but whether in "Wild Lover" or "No Child", Stephen Fry and Colin Firth are more than mature. , And underhanded, nearly middle-aged men, they may have irresistible lethality to young girls who are beginning to love, but if they can let Ian Grafford, Mike Sheen, and Jude Law undress one after another, That would be too far-fetched. Wilde and his protagonists always exude a strong attraction to both men and women. Therefore, if you want to make a good movie of his work, the male protagonist selected must win the favor of male audiences.
Ben Barnes' appearance is quite amazing. He is like a stunner in the movie, with a slender body of 1.85 meters and a nearly perfect facial features set off with a slightly feminine oval face. The girls and gentlemen around him are all enamored of it, and it is only natural. More importantly, his hairstyle and dress are dyed with a strong Wilde style. Those who are familiar with Wilde's appearance will feel that the author is reborn in the movie. Then, between reality and fiction, perhaps the audience will compare their encounters with each other.
In fact, Bezel, Henry, and Dowling all have Wilde's blood flowing on them. Bezel represents Wilde's outstanding skills, Henry represents Wilde's extraordinary wisdom, and Dowling represents Wilde's youth and beauty. The lingering relationship between the three people may contain the contradictions and conflicts in the author's heart to some extent, but in the movie script, the opposition between Henry and Bezel is omitted, and Dowling's slumping is simply lost. Attributable to Henry's instigation. On the screen, Dowling brought down the ladies one by one, robbed them of their virginity, and even made friends with Bezel. The director has no reservation or blush on this, boldly using the lens to capture everything, as if this is all that an ideal movie needs. Dorian Gray turned into a Don Juan-style playboy, and the scene he committed at the adult party for his Radry daughter was even more of a feat than Casanova. Originally, Wilde only used a lot of suggestive descriptions, but the script turned these contents into themes, so the plot was confined to stereotypes.
In addition, Dowling's portrait constantly emits laughable gasps in the film, and moves at the end, which also destroys its original sense of mystery in the work. He should always be silent, but staring at you intently. He can be an old man with a fierce face, but he shouldn’t be the horror look of a leper—let’s stare at Al Pacino or Anthony Hopkins. The portrait with eyes closed, and a very quiet close-up shot for a few seconds, the feeling of suffocation will naturally come home. It’s a pity that the director blindly pursued the effects of thrillers, and as a result, he was unable to produce the effects of "Decapitated" nor the taste of "Brothers Grimm". Wilde's aestheticism itself is not suitable for terrifying others. The beginning of the original "Dowling" is even more shrouded in a peaceful and peaceful oriental atmosphere, I wonder if the next adaptation will be better.
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