A modern retelling of Oscar Wilde's classic masterpiece. In the wealthy and vain hedonist Dorian Gray, painter Basil Hallward has found his muse. Only when Dorian's portrait begins to age, ... See full summary »
In Victorian London, a beautiful young man is given a portrait of himself by an admiring artist. Soon after this, he treats a young woman cruelly and then notices that his portrait seems to... See full summary »
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
The working-class twin sister of a callous, wealthy woman impulsively murders her out of revenge and assumes her identity. But impersonating her dead twin is more complicated and risky than she anticipated.
In 1886, in the Victorian London, the corrupt Lord Henry Wotton meets the pure Dorian Gray posing for talented painter Basil Hallward. Basil paints Dorian's portrait and gives the beautiful painting and an Egyptian sculpture of a cat to him while Henry corrupts his mind and soul telling that Dorian should seek pleasure in life. Dorian wishes that his portrait could age instead of him. Dorian goes to a side show in the Two Turtles in the poor neighborhood of London and he falls in love with the singer Sibyl Vane. Dorian decides to get married with her and tells to Lord Henry that convinces him to test the honor of Sibyl. Dorian Gray leaves Sibyl and travels abroad and when he returns to London, Lord Henry tells him that Sibyl committed suicide for love. Along the years, Dorian's friends age while he is still the same, but his picture discloses his evilness and corruptive life. Can he still have salvation or is his soul trapped in the doomed painting?Written by
Claudio Carvalho, Rio de Janeiro, Brazil
This film received its initial television broadcast in Seattle Sunday 24 March on KING (Channel 5), followed by Philadelphia Friday 29 March 1957 on WFIL (Channel 6), by Portland OR 2 April 1957 on KGW (Channel 8), by New Haven CT 5 April 1957 on WNHC (Channel 8), by Altoona PA 13 April 1957 on WFBG (Channel 10), by Chicago 21 April 1957 on WBBM (Channel 2), by Binghamton NY 27 April 1957 on WNBF (Channel 12), by Abilene TX 16 May 1957 on KRBC (Channel 9), and by New York City 18 May 1957 on WCBS (Channel 2); but it's first Los Angeles telecast did not take place until 30 March 1958 on KTTV (Channel 11), followed by San Francisco 6 June 1958 on KGO (Channel 7) and Minneapolis 7 August 1958 on WTCN (Channel 11). See more »
When Dorian is riding the train early on, the scenery of the rear projection outside the train window changes from passing trees to open fields. See more »
Older TV prints of "The Picture of Dorian Gray" ran entirely in black-and-white, and did not show the painting in colour. Most current TV broadcasts now show the proper colour inserts. According to some sources, the final shot of the film was also originally shown in colour, but all extant prints show the final shot in black-and-white. See more »
Elegant and Timeless Classic Has Excellent Performances
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.
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